Showing posts with label CBS. Show all posts
Showing posts with label CBS. Show all posts

Saturday, February 21, 2026

Animation Celebration Saturday - Frosty Returns

CBS, 1992
Voices of John Goodman, Jonathan Winters, Brian Doyle Murphy, and Elizabeth Moss
Directed by Evert Brown and Bill Melendez
Music and Lyrics by Mark Mothersbaugh and others

This one has some complicated origins. Frosty's Winter Wonderland was among the specials purchased by Warner Brothers when they picked up the rights to the post-1974 Rankin-Bass catalog, which meant that by the 1980's, CBS couldn't run it anymore. They commissioned the director of the Peanuts specials Melendez and Saturday Night Live producer Lorne Michaels to create their own follow-up to Frosty the Snowman in the early 90's. Is it as much fun as the Rankin-Bass productions, or should it be canned? Let's start as our tiny narrator (Jonathan Winters) floats into Beansborough on a snowflake for their annual Winter Carnival and find out...

The Story: The kids of Beansborough are excited about the huge snow storm that just fell in town. Their parents aren't nearly as amused by all the shoveling and defrosting they have to do. Holly DiCarlo (Moss) and her best friend Charles (Michael Patrick Carter) are more interested in working on Holly's magic act for the carnival. The storm's wind blows Holly's magic hat right onto a snowman, turning him into the wisecracking Frosty. 

The kids are delighted with their new frozen friend (when Holly can convince Charles that Frosty's really moving), but Frosty's nervous. Local businessman Mr. Twitchell (Murphy) is heavily pushing his new product Summer Wheeze in a bid to become king of the Winter Carnival. Summer Wheeze instantly removes snow from any surface, including snowmen. It's up to Frosty and the two kids to remind everyone in Beansborough about how fun winter - and snow friends - can truly be.

The Animation: This definitely screams "early 90's Peanuts special." The zig-zaggy thick lines, large head, and sketchy style all look like the work of Bill Melendez. It could fit right in with the later Peanuts specials if the adults sounded like trumpets. It's a lot more like a Peanuts special than a more playful and anime-esque Rankin-Bass special. 

The Song and Dance: The cast and the catchy songs stand out in this attempt at a more "modern" Frosty story. The two kids are hilarious and get some great lines, especially in the opening. Murphy and Andrea Martin also have a few good moments as the villainous executive determined to become carnival king at all costs (including environmental costs) and the kids' fussy teacher Miss Carbunkle. (Also, as with Frosty's Winter Wonderland, I appreciate that there's no reference to any holidays besides the Winter Carnival. This is another one that can be watched at any time during the colder months.) 

The Numbers: We open with an announcer declaring that there's over two feet of snow on the ground and the kids are out of school. "We Love the Snow," say the kids who are delighted to be out of school. Their parents are more frustrated about dealing with shoveling it and complain "We Can Live Without Snow." This becomes "Let There Be Snow" for Frosty and Holly as they sing about the delights of winter weather. The duo reprise it with the townspeople at the carnival. (They're joined here by Charles, who is such a bad singer, even the animated characters wince.) The cast sings the title song over the end credits.

Trivia: This turned up on CBS occasionally during the Christmas season from 1992 through 2023. 

What I Don't Like: What is this a sequel to again? Despite the title, this is really its own stand-alone story, with nothing whatsoever to do with the two Rankin-Bass Frosty specials. Honestly, it feels like Melendez was trying too hard to be early 90's cynical and "hip." Goodman does make a warm Frosty, but his dialogue is less witty and more annoying. The story is a cross between "Rankin-Bass obnoxious and silly villain does weird mean things to kids" and a typical Peanuts special, without the charming weirdness that made both franchises stand out. 

The Big Finale: The catchy music and nice cast makes this worth seeing at least once this winter with elementary school-age kids who will enjoy Holly and Frosty's antics and ignore the so-so animation and plot holes. 

Home Media: That long run on CBS means it's not currently on streaming, but it can be found paired with Frosty the Snowman on many DVDs and Blu-Rays. 

Thursday, January 8, 2026

Musicals On TV - Copacabana (1985)

CBS, 1985
Starring Barry Manilow, Annette O'Toole, Joseph Bologna, and Estelle Getty
Directed by Waris Hussein
Music and Lyrics by Barry Manilow

Tonight's venture into 1940's nostalgia has a few things in common with Queen of the Stardust Ballroom. Queen and Copacabana were TV movies that were big hits on CBS at a time when nostalgia for the mid-20th century was at an all-time high. They both won Emmys, despite musicals being passe on the big and small screens. They were also love stories with sudden tragic endings, although at least the end of this one was obvious from the beginning if you watched the opening and know the song it's based on. In most other ways, this one is a much different beast, with a familiar star and a slightly larger budget. How different is it from Queen and its intimate ballroom? Let's begin at the disco club Copacabana with the tattered, tragic Lola LaMarr (O'Toole) before flashing back to when she met her beloved Tony (Manilow) in 1948 and find out...

The Story: Lola and Tony meet when they both compete on a popular radio game show to win a spot at the famous Copacabana night club in New York. Tony wins, but it turns out to be a bartender job. He's still happy to have his foot at the door, even if his mother Bella (Getty) wants better for him. Tony finally finds Lola working in a dime-a-dance joint. He manages to get her a job as a Copa Girl when he reworks her dark ballad as a show-stopping dance routine. Owner Sam Silver (Ernie Sabella) eventually gives Tony a better job playing blues ballads on the piano too when the pianist is fired. 

Tony and Lola have fallen head-over-heels for each other when she catches the eye of Rico Castelli (Bologna), a gangster based out of Havana, Cuba. He convinces Lola she'll become a big star in his Tropicana nightclub, even getting his current mistress Conchita (Silvana Gallardo) to prepare her for their opening act. Tony gets his own major act at the Copa with the help of the wealthy, amorous Pamela Deveraux (Andra Akers). Pamela eventually gets Tony to Havana to rescue Lola and Conchita when he finds out what Tony does to his lovers. Even when Tony gets the ladies out, Rico still follows them back to the Copa...and tragedy comes along with him, leaving Lola heartbroken for 30 years. 

The Song and Dance: Manilow and O'Toole make a charming couple in this mostly delightful salute to vintage musicals. O'Toole in particular is a revelation, hilarious when pushing her dark ballad "Man Wanted," adorable and sweet with Manilow in the lovely "Who Needs to Dream?"Manilow surprisingly isn't bad either. Bologna makes a great nasty gangster too, and Getty has some nice moments as Tony's nagging mama. There's a nice production for a TV movie from this era too, with gorgeous gowns for the Copa Girls and the Havana dancers, lavish tuxes for Manilow and Bologna, and a nice recreation of late 40's New York and Havana in a Los Angels backlot. Director Hussein won an Emmy for his seamless melding of song and dance; "Who Needs to Dream?" is especially good here. 

The Numbers: We open with the last part of the title song in that 1978 disco as we see what became of Lola before flashing back to 30 years before. After the radio show, our first full number is actually three. Tony is "Changing My Tune," and changing the style of the song every time a publisher complains it isn't "now" or "tomorrow" enough. "Let's Go Steppin'" is the first chorus number for the Copa Girls, giving us the lavish, glamorous world of the nightclub Tony and Lola both badly want to work at. Lola originally performs "Man Wanted" as a dark ballad sung on top of a piano. Tony reworks it into a brassy showstopper that gets her the Copa Girl job. 

Tony starts "Lola" as a number on his piano, but he can't finish it until he encounters the real Lola at the dance hall. They dance together as Tony explains that his "big job" at the Copa wasn't so big after all. Walking home, he starts "Lola" on the accordion, which then segways into "Who Needs to Dream?" They're so delightful as they dance and play, everyone in the apartment buildings surrounding them ends up giving them deserved applause. 

"Aye Carrumba" is the second Copa chorus number and Lola's first. The Copa Girls go tropical in frilly dresses and huge Carmen Miranda hats as Lola leads the dance corps. "Call Me Mr. Lucky" is Tony's first song on the piano after he switches to playing. It becomes "Big City Blues" when Lola leaves for Havana. He gets another promotion to lead singer for "Sweet Heaven." This one has him with the Copa Girls, circling him in white and silver. "El Bravo!" is the big chorus number at the Tropicana in Havana. Lola is the damsel in distress in this swashbuckling spoof; Tony is the title hero in the second version. The movie ends with the start of the title song, as we see exactly what happened to kill Tony and break Lola's heart and mind.

Trivia: Copacabana has twice been made into a stage musical. The original one-act version debuted at Caesar's Palace in Atlantic City in 1991. This was expanded into a full musical that played London's West End from 1994 to 1996. Though it went over well in London and has toured and occasionally appeared in regional theaters in the US, it has yet to play Broadway.

What I Don't Like: First of all, as a big Manilow fan since childhood, I know the song ends tragically...but I don't think the movie should have. As with Queen of the Stardust Ballroom, Tony's sudden death in the finale doesn't really work with the mostly lighthearted romp that came before it. The stage versions have Rico as the one on the other end of that fatal bullet, and frankly, that makes more sense with the story seen here. My other problem is, like the vintage film musicals this is imitating, this is incredibly campy. If you're not a fan of vintage musicals, Manilow, or camp, this is no place for you. 

The Big Finale: If you're a fan of 40's musicals or are a big Manilow fan like me, you'll want to track down "the hottest spot north of Havana." 

Home Media: The DVD is out of print and prohibitively expensive at press time. You might be able to find it for a half-decent price used, but you're better off watching the decent copy currently on the Internet Archive.

Tuesday, January 6, 2026

Musicals On TV - Queen of the Stardust Ballroom

CBS, 1975
Starring Maureen Stapleton, Charles Durning, Charlotte Rae, and Michael Brandon
Directed by Sam O'Steen
Music by Billy Goldenberg; Lyrics by Alan and Marilyn Bergman

First of all, this review is dedicated to my good friend Linda Young, who suggested it a month ago after I mentioned listening to the Ballroom cast album. Thanks, Linda. 

Let's jump-start the cold winter months with a double-dose of small-screen nostalgia from the 70's and 80's that have a lot in common. They fondly recall the nightclubs and ballrooms of the 30's and 40's at a time when ballrooms were the home of elderly dancers reliving their younger years and nightclubs were more likely to feature DJs playing disco than big bands. We'll put on our dancing pumps and head to the ballroom first with this sweet story of a widow who learns life really does begin after fifty when she starts going to a local ballroom regularly and falls for an equally lost mail man. Does this story still resonate, even long after the ballrooms have long vanished? Let's begin with Bea Asher (Stapleton) and her family at the hospital as they receive devastating news and find out...

The Story: Bea is numb at first after her husband dies, until she decides to be her own boss and opens a thrift shop to sell all the things they accumulated over the years. She's even more devastated when her beloved son David (Brandon) and his family move across the country to Los Angeles after he gets a better job. Her waitress friend Angie (Jacqueline Hyde) insists on taking her out to the Stardust Ballroom for a night of dancing. Bea hasn't danced in years, and she feels frumpy and out of place among the beautiful older women there...until she meets Al (Durning). Al has been looking for the right partner, and he's enchanted by gentle, kind Bea. 

One date at the Stardust becomes many, and Bea becomes far more confident. She dyes her hair, wears brighter clothes, and stands up to her pushy sister Helen (Rae) and uptight daughter Diane (Beverly Sanders) who disapprove of all the time she spends not bowing to them. Al and the ballroom become her second home and her lifeline, even after she finds out the truth of why Al is there. She's never been happier, even competing in the big dance show to become the annual Queen of the Stardust Ballroom with Al by her side. 

The Song and Dance: This was a huge hit for CBS in the winter of 1975...and it's not hard to see why. The simple, touching story is unusually and refreshingly realistic for a musical. Stapleton is devastating as the woman who has spent her whole life kowtowing to her husband and family's wishes and finally discovers who she is on the dance floor. During equally matches her as the dashing mail man she falls for with secrets of his own. The gritty cinematography contrasting the glamorous ballroom with Bea's Bronx neighborhood won an Emmy, as did the lovely choreography by Marge Champion.

The Numbers: We open with Bea's devastating sung-spoken "Who Gave You Permission?" as she wanders around her Bronx home, wondering what she's doing to do without her husband. She reprises it later, actually singing this time as she changes her hair, updates her wardrobe, and realizes she doesn't need anyone's permission to enjoy life. She's hoping "Pennies and Dreams" will be enough to get her through when she realizes how much of life she's been collecting and not living and wonders if her new life is "A Big Mistake." Singer Martha Tilton performs "Call Me Yours" at the ballroom when Al tries to get Bea to dance. Al, for his part, realizes how "Suddenly It's You" and that Bea is the dance partner he's been waiting for. "I Love to Dance" is their charming duet in the finale at the Queen dance off as they sing about the delights of couples dancing. There's also all of the instrumental chorus numbers at the ballroom, including the one after Bea dyes her hair where Bea and Al win third place in a contest for free ballroom passes.

Trivia: The musical was so well-received, it was expanded into a full Broadway show, Ballroom, in 1978. Alas, it had a lot of trouble on the road in previews. Director-choreographer Michael Bennett wanted to emphasize the dancing and had most of the character songs from the film, including "Suddenly It's You" and "Who Gave You Permission," cut. The show barely ran two months and lost a ton of money despite featuring Tony-nominated performances by Dorothy Loudon and Vincent Gardenia in the leads. It would be reworked in 1998 for a Chicago production under the title Queen of the Stardust Ballroom, restoring the cut material and once again focusing on Bea and Al. 

What I Don't Like: The ballroom dance sequences aside, this is not a big, brassy musical. This is the small, sweet story of one woman's self-discovery and working through grief. Some people may wonder why she stuck with Al, despite him being married. Others may find the entire story dated. I wasn't enamored with the tragic ending. In fact, this is one place I think the stage version actually works better. The stage musical ends with Bea becoming the queen and accepting Al despite his marriage. Her sudden death doesn't really jive with all the self-discovery that came before it, even if it does give Durning one last, touching scene leaning over her while realizing he'll never have another partner - or love - like her.

The Big Finale: If you're a fan of ballroom dance or either of the leads, or are looking for a sweet, lower-key musical, I highly recommend this lovely look at one woman's journey through grief and into self-love via dance. 

Home Media: Easily found in all formats, but the discs do tend to be pricey. Your best bet here may be streaming. It can currently be found for free at Tubi with commercials.

Saturday, September 6, 2025

Family Fun Saturday - Aladdin (1967)

CBS, 1967
Starring Fred Grades, Will B. Able, Avril Gentles, and Victoria Mallory
Directed by Nick Havinga
Music by Jim Eiler and Jeanne Bargey; Lyrics by Jeanne Bargey

Let's return to television and revisit the Prince Street Players for their fourth and final musical special from the mid-60's. In fact, if this seems familiar, I've already covered the Disney Channel remake from 1990. I wasn't crazy about the cheap-ish cable movie, but now that I finally have the chance to compare it to the original, how well does the Prince Street Players' version hold up? Let's begin with the stage manager in Asian dress (Don Liberto) as he explains the story and his role...or roles...in it and find out...

The Story: Aladdin (Grades) falls for the Princess Mei Ling (Mallory) when he chases his kite into the Emperor's garden. They fall for each other right then and there, but Mei Ling is promised to a wealthy man, and Aladdin has no money. Desperate to win her hand, Aladdin follows a man claiming to be his uncle (Robert Dagney) into a cave full of treasures. The man, who is really an evil magician, is more interested in the lamp among the jewels than any treasure chest. Fortunately, Aladdin isn't able to get it to him before he's shut up in the cave. 

Rubbing the lamp produces a genial genie (Able) who is not only able to free him, but gives him and his beloved mother (Gentles) more than enough money to win Mei-Ling. He also gives him a life-sized dancing doll named Fatima (Graziella Able) who impresses the sultan. Aladdin does marry Mei-Ling, but the magician isn't finished with his treachery just yet. Tricking Aladdin's mother, he convinces her to give him the lamp and takes the genie and castle for himself. Fortunately, Fatima has a ring that contains one last genie (Able) who is able to help Aladdin get rid of the evil magician for good.

The Song and Dance: Lovely music and a genuine attempt to recreate Asian theater tropes are the saving graces here. It's kind of fascinating what they do with limited resources, from the nifty effects for the Genie to how the Genie moves the castle. I also appreciate that they stick to the original Aladdin as told in the Arabian Nights. In Arabian Nights, Aladdin is set in China, and there were two genies, one of the lamp, one of the ring. Will B. Able is having by far the most fun here as the lovable Genie, though Grades does make a charming and determined Aladdin, too.

The Numbers: We open with Aladdin singing about "Flying My Kite" as the Station Manager plays his father scolding him and a neighbor discussing Aladdin with his despairing mother. Mei-Ling singing about "A Lovely Morning In China" turns into a chorus number for her, Aladdin, and her ladies-in-waiting in the garden. Mei-Ling reprises it with the ladies after Aladdin leaves. The magician gives us an instrumental dance routine as he verbally describes the reason he needs Aladdin to get the lamp for him. His mother admits that she loves "Aladdin," but he's also terribly lazy. 

"The Magician's Chants" opens the cave and lets Aladdin find the treasure. The Genie does his own spirited dance as he explains to Aladdin that he's "A Good Genie." He releases them from the cave "In the Wink of an Eye." "Fatima's Dance" is intricate and charming enough to impress the Emperor into giving Aladdin Mei-Ling's hand in marriage. "Lovely Evening In China" becomes a chorus number as all of China attends Aladdin and Mei-Ling's wedding. Mei-Ling sings at her "Tea Time" with Aladdin. She's not as happy with her "Tea Time" with the magician after he gets his hands on the Genie. It ends with everyone returning to China to a reprise of "A Wink of an Eye." 

Trivia: Bless Will B. Able for nailing that dance in "A Good Genie!" The entire cast got a flu bug, and he apparently had a 103 degree fever when he filmed it. 

What I Don't Like: The flu bug may explain some of the lackluster performances, particularly from Mallory, who overdoes her Chinese accent to the point of being annoying. Oh, and as in the 1990 remake, there's not an Asian actor to be seen. These are all whites in (bad) Asian makeup. Though they do manage to make the most out of the limited production, the fact remains that this is a TV musical for kids from the 1960's and looks it. You're not getting a recent live extravaganza. Plus, there'a a few points where someone, usually the Genie, will talk directly to the camera or encourage the kids to play along. It's likely leftover from the original stage show, but it comes off as kind of odd on TV.

The Big Finale: This is cute, but it also hasn't dated that well. It's not my favorite of the Prince Street Players musicals, but they all have their good points if you have younger kids (and can explain the thing with people in Asian makeup). 

Home Media: As with the other Prince Street Players musicals, this can currently only be found on YouTube.

Saturday, August 23, 2025

Family Fun Saturday - The Emperor's New Clothes (1967)

CBS, 1967
Starring Fred Grades, Will B. Able, Marcie Stringer, and Robert Dagny
Directed by Nick Havinga
Music by Jim Eiler; Lyrics by Jeanne Bargy

We stay in television, but jump ahead a decade for another hilarious children's musical from the Prince Street Players. This time, we trade the fantasy for a slightly more realistic story from Hans Christian Anderson about two con-men who teach a clothes-obsessed ruler that there's more to life than looking the part. How does this one compared to the previous two specials from the troupe? We begin with Chester the Jester (Grades), who explains his place in the court and what we're about to see, and find out...

The Story: As Queen Carlotta the Least (Stringer) explains to her husband Emperor Maximilian the Most (Able), their kingdom is so broke, Carlotta took up trumpet to announce herself. Between Sinister the Prime Minster (Dagny) skimming money off their reserves and the Emperor's lavish spending, they barely have the money to pay anyone. The Emperor, however, must have new clothes. Carlotta claims she'll sell her jewels to hire new tailors to make him something spectacular. 

They end up with Mr. Stitch (Alan Klass) and Mr. Sew (Don Potter), swindlers who claim to be tailors. They've made an invisible cloth that can only be seen by someone intelligent. No one in the kingdom, including the Emperor, will admit to not having seen the cloth. Chester has fallen for the scullery maid Verity (Victoria Mallory), who owns a pair of glasses that can reveal the truth when one looks through them. Not only do they give away the swindlers' plot, but they reveal the truth about Sinister...and Chester too, who looks an awful lot like the prince who was stolen as an infant.

The Song and Dance: Oh boy, is this one fun. This time, the costumes and sets are a riot of color and a bit more lavish, as per the story of a free-spending ruler. Stanger by far steals the show as the hilarious Carlotta, who has no trouble doing things for herself and sees through deception a lot quicker than her doddering husband. Mallory and Grades make a charming couple as well in their sweet ballads, while Klass and Potter have their own fun as the Abbott and Costello-like con men. The big chorus numbers really stand out here, with Carlotta's "You Gotta Blow Your Own Trumpet" a show-stopper. 

The Numbers: We open with "I'm Chester the Jester" introducing himself and showing how he has to make everyone in the court laugh. Carlotta, who has taken over for the royal trumpeter, insists that "You've Gotta Blow Your Own Trumpet" and do what needs to be done yourself. Sinister and the chorus announce that "The Emperor Needs New Clothes" when he insists that the ones he has simply won't do for the royal procession the next day. The pages announce "The Royal Proclamation," which the con-men hear. They become "Stitch and Sew" to pull the wool over the eyes of the court. 

Verity wonders what would happen "If I Could Be a Princess" as she and Chester look through the glasses and see themselves as they really are. They reprise it after Stitch and Sew leave, and they suspect they're up to no good. The courtiers are excited the next morning about how "They're Making Invisible Clothes." Stich and Sew say "Behold the Clothes" for Carlotta, who thinks the whole thing is a load of hogwash. They reprise this with the court later that morning before the procession. Verity insists "Look Through the Glasses" and see people as they really are. The show ends with a spirited reprise of "Blow Your Own Trumpet."

What I Don't Like: Once again, this is a family TV special in the 1960's. While it looks better and is a bit more lavish than Jack and the Beanstalk, it's still not even the live spectacles many are accustomed to seeing on TV today. For all his clothes obsession, the Emperor doesn't really have as much to do as in other versions of this story. It's the supporting cast who really shine here.

The Big Finale: This is far and away my favorite of the three Prince Street Players musicals I've watched so far. In fact, this might be a nice starting point for introducing your kids to this series. Highly recommended and absolutely hilarious. 

Home Media: Alas, like the other Prince Street Players musicals, this is only available on YouTube at press time.

Saturday, August 16, 2025

Family Fun Saturday - Jack and the Beanstalk (1966)

CBS, 1966
Starring Will B. Able, Hal Holden, Robert Dagny, and Joan Roberts
Directed by Nick Havinga
Music by Jim Eiler; Lyrics by Jeanne Bargy

Our second Prince Street Players special adapts a more traditional fairy tale. The tale of the boy who climbed the beanstalk and the giants he found in the clouds has turned up everywhere from the Sondheim pastiche Into the Woods to one of Abbott and Costello's least-likely vehicles. What do the Prince Street Players bring to the tale? Let's travel to a far more fanciful land than early 1900's Italy to meet Jack (Holden) and his mother (Roberts) and find out...

The Story: Jack is tricked into trading his cow Betsy for magic beans by the evil Black Baron (Dagny), who wants the Giant's (Able) golden hen. Jack plants the beans over his mother's protests...and indeed, they do grow into a massive beanstalk by the next day. He climbs them, only to discovered worried residents of the land in the clouds warning him about the Giant (Will B. Able). The Giant does capture him and tries to force Jack to tell the truth and remain in his domain. He even shows him his Golden Harp (John Joy) and Golden Goose (Marcie Stringer). Jack, however, is more worried about his mother and the Black Baron, who will take their home for taxes. He and the Giant's assistant (David Lile) finally return to the ground...but the Giant is right on their heels...

The Song and Dance: Unlike Pinocchio, this one gets a lot more creative with the source material. I've rarely seen the Giant played as a relative good guy, or at least, not entirely bad. Holden is a delightfully curious and charming Jack, especially protesting the Giant's attempt to keep him in the clouds, and Able is a riot as the Giant. Dagny is having a great time channeling his inner silent screen villain as the obviously evil Black Baron, too. We also get some really fun songs, notably some of the songs heard in the Giant's realm. The colorful sets look rather like children designed them, adding to the fanciful nature of the story.

The Numbers: We open with "It's a Magical, Musical Day" as we meet Jack, his mother, and their neighbors. Jack and his mother lament "Goodbye, Betsy" when they realize Jack has to sell the cow at market. The Black Baron, masquerading as an old peddler, sells Jack on the "Magic Beans." Jack's going to "Climb Up" the beanstalk and find out who lives there. 

The residents of the Land of the Giant encourages Jack to "Go Away, Away, Away," before the Giant captures him. The Giant wonders "Where oh Where Can He Be?" as he looks for Jack. Giant explains that he's not really a bad guy, but he will "Take a Giant Step" to his castle, where he creates fantastical inventions. The Giant even does a goofy tango with his housekeeper (Dorothy Greener). The Golden Harp plays "Plinka Plunk," while The Golden Goose (Marcie Stringer) sings about "Oh Dem Golden Eggs!" Jack and the Assistant finally flee after nightfall, claiming "It's Time." The Housekeeper thinks "It Must Have Been the Wind." We end with reprises of "Take a Giant Step" and "It's a Magical Musical Day" down below.

What I Don't Like: This is one of the strangest versions of Jack and the Beanstalk I've ever seen, and that includes the live-action Jack the Giant Killer from a decade ago. The Giant is a scientist who wants to pick Jack's brain? And, once again, this is not an elaborate production. Able looks more like the really tall guy in weird giant brain makeup he is than a Giant. The sets are even chintzier than the ones for Pinocchio, and even the costumes are simplified here. This is, once again, not for those expecting a massive modern Disney TV musical.

The Big Finale: I'll admit, I liked Pinocchio slightly better, but this one still has a lot of its own charms for families with younger kids who will likely enjoy the weirdness. 

Home Media: Currently, the Prince Street Players musicals can't be found anywhere but YouTube.

Saturday, August 9, 2025

Family Fun Saturday - Pinocchio (1965)

CBS, 1965
Starring Will B. Able, Jodi Williams, John Joy, and David Lile
Directed by Nick Havinga
Music by Jim Eiler; Lyrics by Jeanne Bargy

On Saturday for the rest of this month, we're going to dive into the series of family musicals put out by New York's Prince Street Players. They were a popular troupe of actors who specialized in children's shows in New York in the 60's and 70's. They were successful enough for some of their best-known shows to be broadcast on CBS as family specials. We're going to start with their version of the beloved Italian fantasy novel. How well do they pull off the story of the puppet who learns to become a real boy? Let's begin with woodcarver Antonio (Able) and find out...

The Story: Geppetto (Lile) is regarded as eccentric by the townspeople and his housekeeper (Marcie Stringer) for speaking to his puppets as if they were alive. He's especially enamored with his latest creation, a life-size puppet that resembles a real boy he names Pinocchio (Joy). The Blue Fairy (Williams) brings Pinocchio to life after Geppetto is kind to her. 

She promises that he can be a real boy if he's good and obeys his father, but there are far too many temptations in town. Two bad boys from town encourage him to join the Coachman (Eiler) and have fun at the Land of Toys, but the wicked Coachman turns him into a donkey. After the Blue Fairy frees Pinocchio from that and gives him five coins, he ends up letting a cat (Robert Lussier) and fox (Robert Dagny) talk him into burying the coins, which they proceed to steal. He flings himself into the water, where he finally finds Geppetto swallowed by a whale. It's Pinocchio who ends up rescuing them from the belly of the creature, proving once and for all that he loves his father...and are a truly good boy, wood or not.

The Song and Dance: If this is typical of the Prince Street Players shows, no wonder many of them still turn up in regional theaters to this day. The songs are tuneful, the Italian costumes colorful, and the actors quite charming. Joy makes an adorable Pinocchio with a beautiful voice, especially singing the all-Italian number during Geppetto's show. Williams is a sweet and sensible Blue Fairy, and Hal Holden and Fred Graves are a riot as the naughty boys who pull Pinocchio off the straight and narrow the first time. I'm also impressed with how relatively well this sticks to the original book. Geppetto's show with Pinocchio replaces Stromboli's show, but otherwise, this is pretty close to the original book.

The Numbers: We kick off with our narrator Antonio introducing us to the typical Italian small town where much of the story is set with the chorus number "Bonjourno!" Geppetto sings of his desire for a "Boy to Love" to love him more than any puppet could. The Blue Fairy shows Pinocchio how he's an "Almost Real Little Boy." The townspeople and Geppetto explain to Pinocchio "That's a Show!" and join Pinocchio at Geppetto's puppet show for the title number. 

Gino and Candlewick explain to Pinocchio why "I Don't Want to Go to School." The Coachman encourages them to join him at "The Land of the Toys." Geppetto sadly reprises the title song when he's searching for his missing son. The toys sing of all the wonders they'll see...until the boys realize that the other kids have gone missing. Senor Volpore and Senior Gatto introduce themselves with their own operatic spoof, "The Cat and Fox's Song." Pinocchio laments "Everything I Do Goes Wrong" after he loses the money the Blue Fairy gives him. The special ends with a joyful reprise of the title song after Pinocchio has been turned to a real boy.

What I Don't Like: Pretty typical TV production of the 50's and 60's. The costumes are colorful, but the sets are nothing special. and the effects that probably looked decent enough in 1965 come off as chintzy today. None of the actors are terribly well-remembered, either. This is not a huge extravaganza and isn't for those looking for widescreen spectacles or a big, loud show. There's also a few things cut from the original story, likely for time and because they didn't have the budget for it on TV (notably Jiminy Cricket isn't mentioned).

The Big Finale: If this is what all of the Prince Street Players musicals are like, no wonder they were so popular in the 60's. Recommended for families with elementary-school age kids looking for a fairly no-frills version of the famous story.

Home Media: Alas, the only place you can see any of the Prince Street Players musicals at the moment is YouTube. 

Thursday, July 3, 2025

Happy 4th of July! - Meet Me In St. Louis (1959)

CBS, 1959
Starring Jane Powell, Tab Hunter, Patty Duke, and Myrna Loy
Directed by George Schaefer
Music and Lyrics by Hugh Martin and Ralph Blaine and others

We'll stay in the same time period, but jump on a cross-country train from New Hampshire to Missouri to celebrate Independence Day at the St. Louis World Fair. The original Meet Me In St. Louis debuted during World War II, where it was considered a celebration of the American family and everything Americans were fighting for "over there." Over fifteen years later, it was reworked for TV as a major "spectacular" at a time when American family values were considered just as important, even if the country was no longer under threat. How well did they do with this remake of one of the great classic MGM musicals? Let's begin in front of the Smiths' home in St. Louis in 1903 as children sing the title song and find out...

The Story: The biggest news in the Smith household is oldest sister Rose's (Jeanne Crain) beau calling long-distance from New York and the building of the St. Louis World's Fair. Second-oldest sister Esther (Powell) is more interested in admiring handsome boy next door John Truitt (Hunter), who just moved next-door. He's oblivious to her advances until she finally makes her feelings clear during a trolley ride to the under-construction fairgrounds.

Halloween doesn't go nearly as well. Littlest sister Tootie (Duke) runs home crying from the dress-up bonfire because she claims John hit her. Esther dashes over to her house and pounds him, only for Tootie to admit she lied and John was actually trying to keep her and her sister Agnes (Ginger McManus) from the police. 

Esther returns home to worse news. Their father Lon (Walter Pidgeon) intends to move the family to New York after Christmas. This makes the big Christmas ball even more important. Esther is upset when John can't go, until her Grandpa (Ed Wynn) intervenes. It takes a devastated Tootie destroying her snowman family to make Mr. Smith realize that his family is fine where they are...and there's nothing in New York that they don't already have at home.

The Song and Dance: Considering how beloved the original is, this was far better than I expected it to be. Twinkly Ed Wynn and pointed Myrna Loy steals the show as a far more charming Grandpa and slightly more caustic Mrs. Anna Smith. Wynn singing and dancing the title song with a delectably macabre Duke is a sheer delight. Hunter is such a sweet and adorable "boy next door" (especially compared to bland Tom Drake in the original), you have no problems understanding why Esther is crazy about him. (The additional two songs for him help flesh out his character further as well.) The costumes and sets are mostly historically accurate, especially the gowns at that ball later. 

And I still love how realistic all of this feels, even 120 years later. I grew up in a family of mostly women where Dad was frequently out of the loop, you never had less than three people hearing your conversation with your boyfriends (even after cell phones came into regular usage), and Halloween was scary whether you were running around bonfires or just gathering candy. 

The Numbers: We open with the title song first being sung by children playing outside the porch. Esther wistfully sings about "The Boy Next Door" who doesn't notice her. Grandpa and Tootie delightfully pick up the title song from the kids outside, dancing around Tootie's "dying" dolls as Esther and Rose play it inside. "Skip to My Lou" is the big chorus number at Esther and Rose's going away party for their brother Lon (Kelly Brown). Esther sings the genuine early 1900's ballad "Over the Bannister" in an attempt to get a kiss out of John, but he ducks out of it. 

"The Trolley Song" is performed before the trolley leaves, not on it, but it's just as spirited. John is so thrilled to have finally admitted his feelings, he tells Esther what he would do "If You Were the Only Girl In the World." He wonders "When Does This Feeling Go Away?" after a picnic with Esther on the fairgrounds. Thankfully, Walter Pidgeon is a good singer and didn't need to be dubbed for the gentle ballad "You and I," which Alonzo and Anna sing at Halloween after his announcement. Loy isn't a good singer, but she manages her part well enough. 

"After the Ball" and "Auld Lang Syne" are instrumental chorus dance numbers at the Christmas ball. Esther sings a devastating "Have Yourself a Merry Little Christmas" with a sobbing Tootie in her arms after the ball...and Powell thought the song was so upsetting, she couldn't bring herself to perform the whole thing for Duke. We end with the entire cast singing the title song as they prepare to head to the World's Fair itself.

Trivia: This was performed live, which explains some of the cast flubs, including Loy missing a line and Powell changing the lyrics to "Have Yourself a Merry Little Christmas" to make them less upsetting for Duke.

It also isn't the last time Meet Me In St. Louis would be adapted for another medium. A 1966 non-musical pilot featuring Shelley Fabares as Esther didn't make it to a full series. A stage version debuted on Broadway in 1989, but only ran for seven months.

What I Don't Like: Powell herself, for starters. She's cute and sings well enough, but lacks the heart and real feelings Judy Garland brought to this role in 1944. Though they do use most of the original score, they did drop one of my favorite numbers, the adorable (but admittedly extraneous) "Under the Bamboo Tree" cakewalk with Tootie and Esther. And yes, this was live, complete with all the flubs and changes I mentioned above. 

The Big Finale: This also ended up being a surprise. While no replacement for the original, it has enough good points to make it worth a watch for fans of 40's and 50's musicals or anyone in the cast.

Home Media: Currently available on YouTube.

Saturday, June 8, 2024

Seuss Short Subject Special - Dr. Seuss On the Loose & Pontoffel Pock, Where Are You?

Let's go on vacation with these two unique Seuss specials. On the Loose is the only animated Seuss anthology; Pontoffel Pock is one of four made exclusively for television and not based on a previous book. Are they as much fun as more familiar stories like How the Grinch Stole Christmas, or should they be left unbudged in the desert? Let's begin with the Cat (Allan Sherman) explaining the Sneeches and their problem and find out...

Dr. Seuss On the Loose (Green Eggs and Ham and Other Stories)
CBS, 1973
Voices of Allan Sherman, Hans Conried, Paul Winchell, and Bob Holt
Directed by Hawley Pratt
Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: Since this is based on a Seuss anthology, we actually have three stories:

The Sneeches: The Sneeches (Winchell and Holt) are yellow bird-like creatures who live on the beaches. Sneeches who have green stars on their bellies snub those who don't have them, until Sylvester McMonkey McBean (Holt) turns up with his "fix-it-up machines" that can add and remove stars. Now Sneeches are running all over the beaches, trying to one-up the other crowd...at least until they spend all their money, and McBean leaves with his machines and a lesson learned.

The Zax: A north-going Zax (Conried) and a south-going Zax (Conried) meet in the middle of the desert. They will not budge and let the other pass for anything...even when the world continues around them.

Green Eggs and Ham: Sam-I-Am (Winchell) will do anything to convince a man (Winchell) to eat his favorite dish. After following him everywhere from a house to a box to a car to a train to a boat, the man finally learns that it can be fun to try something new, even if it looks strange at first.

The Animation: Same as the other Dr. Seuss specials of the 1970's and 80's. It's bright and colorful sketchy line drawings that closely resemble the Seuss books these specials came from. They have the most fun with all the details in Green Eggs and Ham. Some of the background details here are really funny, from Sam introducing the animals to what happens to the boat. 

The Song and Dance: Some of Dr. Seuss' most unusual characters can be found in these stories. Kudos to the voice actors, especially Holt and Winchell, for managing to make each and every character sound different. Conried does equally well narrating the Zax and giving us an idea of how stubborn they are. And I actually like the idea of them doing three stories, as per the original Dr Seuss On the Loose book. We get a lot of variety, from the Sneeches' race and class parable to the super-short Zax to the purely comic Green Eggs and Ham. 

Favorite Number: We open with the Cat In the Hat explaining about "The Sneeches" as he prances on their beaches. "Twinkle, Twinkle Lovely Star" is the Sneeches' first number as the star-bellied Sneeches lord their tummy badges over the ones that don't have them, and the others wish they could join in. The star-bellies sing "A Toast" to their stars at their first marshmallow roast. When everyone reprises it in the end, it's now about how they've learned that what matters is what you're like inside, not the stars on the outside.

The Cat's introduction to "The Zax" is the only song in that super-short segment. He also gives us a brief introductory song for "Green Eggs and Ham." The chorus gets the number heard throughout the special, "He Will Eat Them." The man finally reprises it in the end with the animals as he finally gives those pesky emerald-hued breakfast food a try. 

Trivia: Allan Sherman's last role. He died a month after this first aired.

The only Seuss special to feature more than one story.

What I Don't Like: Ham is slightly more violent than the original story, and while there's not nearly as much padding as there would be in the heavily revised Netflix TV show, there's still quite a bit of random slapstick. Green Eggs and Ham is also not from the original Dr. Seuss On the Loose book. The other two stories in that book are "Too Many Daves," about a mother who wonders what else she could have named her 23 sons, and "What Was I Scared Of," about a child afraid of moving pants. They may have been too short and/or odd to adapt. 

The Big Finale: Another favorite Seuss special. Check this out with your kids, especially those who are starting to learn about race and class relations. 

Home Media: Easily available in every format, both on its own and as part of Seuss collections. Can currently be found on DVD paired with Pontoffel Pock and The Butter Battle Book. 


Pontoffel Pock, Where are You? (Pontoffel Pock and His Magic Piano) 
ABC, 1980
Voices of Wayne Morton, Joe Raposo, Hal Smith, and Sue Allen
Directed by Gerald Baldwin
Music and Lyrics by Joe Raposo

The Story: A "schnook" by his own admission, Pontoffel Pock (Morton) would do anything to get away from his family's decaying home and his failed dill pickle factory job. The fairy MacGillicuddy (Smith) hears his plea and gives him a magic piano that can take him anywhere at the press of a button. He first visits the mountain country Groogan, but his showing off wrecks so much havoc, they shoot paint at him instead. 

After he begs MacGillicuddy for a second chance, he heads to the desert town of Casbahmopolis. He hasn't been there more than two minutes when he falls for the "eyeball dancer" Neefa Feefa (Allen), a performer for the sultan who also hates her job and wants to get away from it all. He rescues Neefa, only to drop her on his escape. When he gets hopelessly lost, the fairies all chase after him to return the piano, but he just wants to get back to his Neefa.

The Animation: Same deal here. This one may be even more colorful, as per the around-the-world setting. Groogan is vaguely Swiss, with its lederhosen and Germanic accents, while Casbahopolis gives us purples, deep blues, and brilliant golds straight out of Arabian Nights. Some nice character animation too, especially on the fairies and Neefa Feefa.

The Song and Dance: The nifty animation and Raposo's catchy songs are the order of the day here. Smith has a field day as both the fussy fairy who can't believe anyone could make such a mess of a flying piano and the weary fairy-in-chief after they've been chasing Pock for the last five minutes. This is also one of the more action-packed Seuss stories, with everyone chasing Pock and him trying to first rescue, then find his Neefa again in the second half. 

Favorite Number: We open with "Pull On the Pull 'Em" as Gil Gickler, the Master Dill Pickler (Raposo) explains how his job works. After the disaster at the factory, Pock admits "I Had Failed" and introduces "The House My Family Left Me." MacGillicuddy introduces "That Wonderful Piano" when he answers Pock's request. 

"Welcome to Groogan" say the townspeople, until Pock swooping around in "I'm Flying Free" makes a mess of their home. After that, it's "Load Up that Goomy Gun" and shoot that show-off down! Neefa Feefa complains about her own job dancing for the sultan in "Optic Coptic (The Eyes Song)." Everyone gets involved in the title song as the fairies chase Pock, Pock tries to figure out how to get back to Eefa, and Eefa wonders why he hasn't returned to her yet. We end with a reprise of "Pull On," this time with Eefa joining in as well.

Trivia: The last Dr. Seuss special done by Freleng-DePatie Enterprises before they were sold to Marvel Comics and became Marvel Productions. 

Nominated for Outstanding Animated Program at the Emmys in 1980. 

What I Don't Like: Kind of a strange story, even for Seuss. Pock's so much of a "schnook," he comes off as a little bland or annoying other than his showing off to the Groogans. The story can get a little jumbled and hard to follow near the end, when everyone is chasing Pock. The Arabian stereotypes during the Casbahopolis sequences might be slightly offensive to some people.

The Big Finale: There's enough worth checking out here for those who are fans of Seuss or want to try a different Seuss with their elementary school-age kids.

Home Media: As mentioned, this is on disc paired with Dr. Seuss On the Loose and The Butter Battle Book. The only place it can currently be found solo is on YouTube. 

Saturday, May 11, 2024

Happy Mother's Day! - Gypsy (1993)

CBS, 1993
Starring Bette Midler, Cynthia Gibb, Peter Riegert, and Jennifer Rae Beck
Directed by Emilie Ardolino 
Music by Jules Styne; Lyrics by Stephan Sondheim

We celebrate Mother's Day this year with the second filmed version of this beloved show. Midler had wanted to play Mama Rose, the ultimate pushy stage mother, for years. The original theatrical film had been a hit with audiences in 1962, but it hadn't gone over well with many critics, who lamented the loss of the song "Together Wherever We Go" and believed Rosalind Russell to be miscast as Rose. Ardolino had mainly directed PBS documentaries on dance and performance before he had major hits with Dirty Dancing in 1987 and Sister Act in 1992. How does Midler's turn as Mama Rose look now? Let's begin at a theater in Seattle, where little Louise (Elisabeth Moss) and June Hovick (Lacey Chabert) are performing for Uncle Jocko's (Tony Shalhoub) kids show and find out...

The Story: Rose Hovick (Midler) is determined that pretty blonde June (Beck) will be a vaudeville star no matter what it takes, including neglecting the less-talented Louise (Gibb). She rounds up a group of boys to back June for a newsboys act and convinces candy salesman Herbie Sommers (Riegert) to become her agent. The act goes over well enough for a time, but June rebels when she grows out of it and gets tired of her mother's smothering. After she runs off with one of the chorus boys, Rose turns her attention to making Louise a star.

Not only does Louise lack her sister's talent and charisma, but the one-two punch of sound movies and the Great Depression is killing vaudeville. Herbie can only manage to get them booked in a third-rate burlesque house in Wichita, Kansas. The low-down strippers and slapstick comics horrify Rose at first, until one of the strippers is arrested for soliciting. If Rose can't get Louise into vaudeville, she'll turn her into the greatest stripper who ever lived, the elegant Gypsy Rose Lee! 

The Song and Dance: No wonder Midler wanted to play this so badly. She's a force of nature, barreling through everything and everyone in her path. This is a woman you can believe would use her kids, Herbie, and everyone else to be noticed. The supporting cast is equally good, with Riegert more than matching her as the salesman who only wants to marry her and Gibb a strong and lovely budding Louise. The strippers are a riot too, especially long-time Broadway favorite Christine Ebersole as Tessie Tura. Though the sets are as stagey as the 1962 version, Ardolino manages to avoid the cramped feeling that marred the original film. The costumes by Bob Mackie are especially gorgeous - check out the stripper's outfits and Louise's gowns in the end as Gypsy Rose Lee. 

Favorite Number: We open with June and Louise singing "Let Me Entertain You" in their adorable Dutch children's costumes at Uncle Jocko's kid show. It shows up again later in a very different context as the number Louise sings at the burlesque theater in Wichita. She's hesitant at first, but with her mother's prompting and the encouragement of the crowd, eventually gets into it. It continues as we progress through different cities and burlesque houses, until it turns into a huge Adam and Eve chorus routine at Minsky's in New York.

Rose complains at home in Seattle with her father (Ed Asner) about how "Some People" are expected to live little lives, and she doesn't want that for her daughters. "Small World" is Rose's first number with Herbie as she convinces him to become their agent. "Baby June and Her Newsboys" and "Dainty June and her Farmboys" are Rose's idea of a big vaudeville number for June, with the boys and Louise literally singing her praises in the first and Louise as the back half of a cow in the second. Rose, June, and the boys convince "Mr. Goldstone" (Michael Jeter) to take their act. Louise sings "Little Lamb" with a real lamb as she wonders what her actual age is. Louise wonders what would happen "If Momma Was Married," while June just hopes it would get her mother off her back. Rose reminds Herbie that "You'll Never Get Away From Me" in a Chinese restaurant after almost leaving him to care for the girls and he threatens to walk out. 

Tulsa, one of the boys (Jeffery Broadhurst), shows Louise what he hopes will be his own classy dance act, "All I Need Is the Girl." Louise and Herbie watch in shock as Rose insists "Everything's Coming Up Roses," even though June and the boys have abandoned them at Omaha. Louise and Herbie are feeling a lot better when Rose upgrades the new act in "Together Wherever We Go," which makes its filmed debut here. Former ballerina Tessie Tura and fellow strippers Miss Mazeppa (Linda Hart) and Miss Electra (Anna McNeely) insist to Louise that "You Gotta Get a Gimmick" to make it in burlesque, showing how different from and similar to each other they are. Tired of supporting everyone and being thrown away afterwards, Rose finally steps out on the runway for the dynamic finale "Rose's  Turn."

Trivia: Sadly, Ardolino didn't live to see this film's success. He died of AIDS three weeks before it debuted. It's dedicated to him. 

What I Don't Like: This isn't the place for people who don't like Midler or the big, brassy musicals of the 1950's and 60's. One thing it does have in common with the original film is the length. It's over 2 1/2 hours without commercials. It's still too long, and it still shows its stage origins too plainly. I don't think there's a way to make this more cinematic. It was just made to be a stage show. 

The Big Finale: While I do like the 1962 film, this one has many charms, including an excellent performance by Midler, a decent supporting cast, and gorgeous costumes. Check out both with your mom this Mother's Day and see which one you prefer.

Home Media: The DVD is in print but pricey. Streaming is your best bet here. You can find it for free just about anywhere right now, including Pluto TV and Amazon Prime.

Saturday, April 27, 2024

Seuss Short Subject Special - The Lorax (1972) & The Hoober Bloob Highway

Let's celebrate Earth Day and Arbor Day with these two classic Dr. Seuss specials from the 70's. The Lorax covers the importance of trees to us and the environment, while Hoober Bloob Highway looks at what it means to be human.  Are they worth checking out with your family? Let's follow a young boy as he makes his way across a desolate, ruined landscape to ask the Onceler (Bob Holt) how the land came to be this way and find out...

The Lorax
CBS, 1972
Voices of Bob Holt, Eddie Albert, Athena Lorde, and Helen Carraher
Directed by Hawley Pratt
Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: When the Onceler originally came to the land, it was a paradise with acres of sweet-smelling, bright-colored Truffula Trees and the creatures that relied on them for food and shelter. He builds a small shop and chops down one tree to make a "Thneed," a multi-purpose pink fluffy object that he insists "everyone needs." The Lorax (Holt), the resident of the tree he cut down, objects to the destruction of the tree. Onceler insists he's just cutting down one tree, but after the Thneed sells quickly, one tree leads to mass-chopping every tree in the area to build them. 

He builds a huge factory to make the Thneeds, and while that may be good for his family and his personal finances, it's not good for the land and animals. As the trees dwindle, the bear-like Barba-Loots leave to find food elsewhere. The Swamee-Swans and Humming Fish can't handle the increased pollution caused by the factory and also depart. The Lorax keeps protesting and keeps pointing out the disaster in the making that the Onceler is causing. The Onceler claims to understand, but he only truly understands profits...until the trees run out, and he realizes that no resources, or profits, last forever.

The Animation: Like all of the Seuss specials of the 70's, it's bright, sketchy, and very reminiscent of the actual books. While we only see the Onceler's arms, they do manage to give the Lorax and the animals a fair amount of expression. We see those curving Seuss lines in the factory, the city, and in the gracefully waving Truffulas themselves. They really are lovely, which makes it all the more heartbreaking when they're depleted.

The Song and Dance: Along with The Butter Battle Book, this is the darkest Seuss special...and that alone makes it my favorite. There's no easy answers in this one. It does give us a spot of hope in the finale with the kid and the seed, but getting there is one of the saddest stories in the Seuss canon. Holt does very well, managing to make the Onceler and the Lorax such distinctly different characters, you'd never know they were voiced by the same man if you didn't check the cast list.

Favorite Number: We open with Eddie Albert, a real-life environmentalist, singing "Street of the Lifted Lorax" as he explains about the legend of the Lorax and the Onceler's ruined factory. "Under the Trees" takes us back in time to introduce the Truffula forest and the creatures it supports. "To the House of the Onceler" brings in the Onceler's relatives to work in his newly-built factory. Unfortunately, they also pollute the area with their cars and littering. 

"He's a Jolly Good Onceler" is the celebration song when the factory makes it's 1,000th Thneed. The Onceler does understand what he's done, as he admits in "Why are You a Onceler?" A brief reprise of "Under the Trees" shows the Barba-Loots departing to find more food. The Swamee Swans can't handle the smog and are "Going, Going, Gone" too. The longest number goes to the Humming Fish, who are "Fish Out of Water" when their river is too filled with gunk to survive.

Trivia: One of the Humming Fish claims "I hear things are just as bad in Lake Erie" in their song. Lake Erie was extremely polluted in the 70's. It has since been cleaned up, to the point where the line was removed from later versions of the book (though not the special). 

There are a few changes from the book. The boy had to pay for the Onceler's story, and the Onceler related it over a "Whisper-Ma-Phone." The Barba-Loots left before the sky was polluted, not after, and the Onceler never had the mild change of heart that we see after the "Good Old Onceler" number. 

What I Don't Like: Did I mention that "dark" thing? This might be a bit too dark for young children who would be interested in the cute animals and bouncy songs. It also pushes its environmental message very hard...maybe a bit too hard for those who prefer their Seuss on the lighter side or don't agree with what it's saying. 

The Big Finale: A sobering message with decent animation and voice acting for families with older kids who are starting to learn about the environment and how we can help save it. 

Home Media: Easily found on all formats, often for under $10. 


The Hoober-Bloob Highway
CBS, 1975
Voices of Bob Holt and Hal Smith
Directed by Alan Zaslove
Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: Mr. Hoober-Bloob (Holt) and his mandolin assistant are "dispatchers" on an outer space platform who prepare newborn children for their life on the Earth. He's especially excited about his current charge, whom he has dubbed "Bub." We see Bub as a boy on Earth in various musical vignettes depicting him both in normal, everyday situations like enjoying summer vacation and doing chores and more unusual ones like trying to answer scrolling questions and figure out how to fix a schnorken. Mr. Hoober-Bloob isn't too sure about sending Bub, given how complicated and dull Earth can be, but Bub knows that life on Earth can be pretty exciting, too. 

The Animation: Same deal here. The Seuss specials were pretty much consistently similar over the decade or so most of them were made, thanks to them being all made by Friz Freling's DePatie-Freling Enterprises. The design here isn't quite as colorful, but it's even more creative. Check out all the truly unusual creatures Mr. Hoober-Bloob shows off in the "On the Other Hand" number!

The Song and Dance: This is by far the most unique of the Dr. Seuss specials, and possibly the simplest. They get a lot out of "Bub" and his dog, without them saying a word. In fact, other than Holt, Smith's brief narration, and the occasional bursts from the mandolin (which annoy Mr. Hoober-Bloob), this special is largely done in pantomime and music. It's more effective than you might think, thanks to Seuss' creative designs and the often hilarious expressions from "Bub" and his canine friend. Holt makes a warm and hilarious Mr. Hoober-Bloob, too, especially later when he's really getting caught up with what his charge's life could be like.

Favorite Number: We open with the chorus performing the title song that describes who Mr. Hoober-Bloob is and where he is. "And That's the Way It Is, Bub" he explains to his charge during the segment depicting different towns he could end up in. "West Watch-a-ka Tella" is a short segment with a singer admitting that Bub will be living in what is likely intended to be a typical suburb. The gentle "Among the Daisies" depicts the slower side of life on Earth, as Bub and his dog relax in a field. 

"That's Just the Beginning" and "Things You Have to Know" are chorus numbers as Bub finds himself in school, learning everything from dull math equations to odd history facts. Dr. Hoober-Bloob admits "I Know the Way You Feel, Bub." "On the Other Hand," Bub can be any kind of peculiar alien creature Seuss can come up with. 

"It's Fun to Be a Human" when you're enjoying summer vacation...but there are consequences of fun. Vacation ends all too soon, and the chorus asks Bub "What Do You Do?" when a machine breaks down. Mr. Hoober Bloob objects to all this as boring, but finally lets the film continue, as Bub has to "Answer Yes or No" on a fast-paced scroll. After Bub makes his decision, the chorus declares "You're a Human!"

Trivia: First of four Dr. Seuss specials written directly for television and not based on a previous book. It was also the last Seuss special with music by Dean Elliott and to air on CBS.

What I Don't Like: Honestly, this one can come off as a little too bizarre for some people. The vague theme about birth and being human and the very simplicity can seem dull or just beyond weird. It's also a lot more meandering than most Seuss specials and a lot less plot-focused. It has more in common with some of Seuss' more random word stories for the very young like If I Ran the Zoo or I Had Trouble Getting to Solla Sollew (and actually recycles a few gags from those books). 

The Big Finale: The weirdness is why this is another favorite Seuss special of mine. You won't find anything like Bub learning what makes us human anywhere else. Highly recommended for families who are beginning to discuss birth and life with their children. 

Home Media: Unlike The Lorax, The Hoober-Bloob Highway hasn't had a separate release since it came out on video in the 90's. It can currently be found on disc paired with the original Cat In the Hat and the later special Daisy-Head Maisie. 

Saturday, April 13, 2024

Family Fun Saturday - Alice In Wonderland (1985)

CBS, 1985
Starring Natalie Gregory, Red Buttons, Jayne Meadows, and Ann Jillian
Directed by Harry Harris
Music and Lyrics by Steve Allen

I'm celebrating my birthday tomorrow with an old favorite of mine. This two-part miniseries used to show up a lot on cable in the 80's and 90's when I was little, and I always enjoyed seeing all of the familiar faces dressed as characters from one of my favorite stories. This would seem to be a bit of an oddity for producer Irwin Allen, who usually specialized in campy disaster dramas and science fiction. All-star programming, however, was up his alley. How does this star-studded version of the beloved children's fantasy novel look today? Let's begin with Alice (Natalie Gregory) and her mother (Sheila Allen) at home as Alice begs to be able to join her parents for tea and find out...

The Story: Alice wishes she were grown-up enough to sit at the tea table with her parents, but they insist she join her older sister (Sharee Gregory) outside instead. While talking to her sister, Alice sees a human-sized White Rabbit (Buttons) hurrying off into the woods. Alice follows him, only to fall down a rabbit hole and into Wonderland, a surreal world where the usual human logic and sense don't usually apply. Among the odd characters she meets are the mouthy Duchess (Martha Raye), the tea party-loving Mad Hatter (Anthony Newley) and March Hare (Roddy McDowell), the grinning Cheshire Cat (Telly Savalas), and the Queen of Hearts (Jayne Meadows), who loves nothing more than to order everyone's heads taken off.

Even after Alice escapes the Queen of Hearts' unfair trial for the Knave (James Joseph Galante), she ends up behind the mirror in Looking Glass Land. Here, everyone's minds work backwards, and things are the opposite of normal. The Red Queen (Ann Jillian) and White Queen (Carol Channing) give unwanted advice, but she has more fun with Tweedledee (Eydie Gorme) and Tweedledum (Steve Lawrence) and the kindly White Knight (Lloyd Bridges). The White Knight is ready to defend her when the Jabberwocky attacks, but thanks to the Owl (Jack Warden) reminding her to face her fears, Alice realizes that growing up means doing things we're afraid to do...like confronting monsters, or our own parents. 

The Song and Dance: The sprawling Alice lends itself well to the all-star treatment. I very much appreciate how close these get to the actual books, especially the first half in Wonderland. This is one of the more accurate TV adaptions of this story I've seen. In fact, maybe Alice should get the miniseries treatment more often. It gives more room for everyone to do their schtick, and for us to get to know Alice and why she's making her journey. Speaking of Alice, Natalie Gregory may be one of my favorite Alices on-screen. She nails the role, from her realistic reactions to all the goofballs around her to her genuine fear when she faces the Jabberwocky later. 

There's also Allen's lovely music. I forgot how good the music is in this. It really carries the story along, even when the series is at its most strange. Channing's "Jam Today" is a showstopper, and Jillian gets two gorgeous lullabies late in the second half.

Favorite Number: Sherman Hemsley makes the most of his short role as the Mouse revealing why "I Hate Dogs and Cats" after Alice climbs out of the Pool of Tears. The Caterpillar (Sammy Davis Jr.) and Alice sing "You are Old Father William" dressed as the characters. "There's Something to Be Said for Hatred" claims the Duchess and her cook (Imogene Coca). The Cheshire Cat agrees, and depresses Alice (and the audience) by telling her "There's No Way Home."  

The Mad Hatter perks things up considerably by reminding Alice to "Laugh" about her fears. Alice (dubbed by Lana Beeson) wonders "Why Do People?" behave the way they do after the disastrous tea party. The Queen of Hearts insists "Off With Their Heads!" while the Mock Turtle (Ringo Starr) reminds Alice about the importance of "Nonsense." Their Royal Highnesses are more annoyed than anything when the Hatter and Hare argue "I Didn't, You Did!" when they're called on at the trial.

Our first numbers in Looking Glass Land aren't until nearly 20 minutes in, but it's two from Gorme and Lawrence. They remind Alice to say "How Do You Do and Shake Hands" and tell her the story of "The Walrus and the Carpenter." The White Queen insists that it can only be "Jam Tomorrow," never today. The White King (Harvey Korman), his messenger (John Stamos), and Alice learn why "The Lion and the Unicorn" are fighting for the crown. "We are Dancing," the White Knight sings as he and Alice waltz sweetly together. 

The Red Queen and White Queen get a very funny patter number after Alice becomes queen, asking her "Can You Do Addition?" Jillian is absolutely gorgeous in two lovely lullabies, "Emotions" as she explains to Alice why she feels the way she does, and "Hush-a-Bye Lady" as she puts the White Queen - and herself - to sleep. The White Rabbit welcomes all of Alice's Wonderland friends "To the Looking Glass World" after she becomes queen. In the end, before Alice goes off to tea, her friends from both worlds sing about how they hope "Alice" won't forget them.

What I Don't Like: The music is still lovely, but the costumes and sets haven't dated well at all. They look like cheap rejects from one of Irwin's fantasy movies. Gregory's blonde wig is almost too big for her head. When the Jabberwock shows up, he looks more like the Godzilla-like puppet he is than anything scary, undercutting the second half. 

The attempt at the "face your fears" morals and the finale that replaces Alice finally getting tired of all the nonsense and throwing the table on everyone comes off as too dark for a light-hearted children's fantasy. Davis' "You are Old Father William" number is totally random - even for Wonderland - and seems shoehorned in to give him something to do other than sit there. And honestly, most of these people are unrecognizable in the costumes and many of them, especially those who don't sing, have even less to do than Davis. 

The Big Finale: Maybe it's because I grew up watching this, but for all the TV budget and obvious camp, this is still one of my favorite versions of this story. Attractive songs and Gregory's strong performance help overcome the budget limitations and odd costumes. Highly recommended for families with a spare three hours on hand, or who are able to split the episodes into several days' viewing.

Home Media: The DVD is pretty easily found anywhere, often for under $10. 

Saturday, March 9, 2024

Family Fun Saturday - Once Upon a Mattress (1972)

CBS, 1972
Starring Carol Burnett, Ken Berry, Jane White, and Wally Cox
Directed by Ron Field and Dave Powers
Music by Mary Rodgers; Lyrics by Marshall Barer

The 2005 Disney rendition of this show was far from the first time it was adapted for the small screen. The star of the original Broadway hit Carol Burnett appeared in two versions in 1964 and 1972. Along with White and Jack Gilford, who also appeared with her in the original Broadway cast, we have TV sitcom vets Cox and Ken Berry and then-hot stage ingenue Bernadette Peters in a wacky retelling of the Hans Christian Andersen story The Princess and the Pea. How nutty does this one get? Let's begin with Carol as she tells her daughter the fairy tale as a bedtime story and find out...

The Story: Prince Dauntless the Drab (Berry) wants to find a bride, but his controlling mother Queen Aggravain (White) gives every prospective princess a series of impossible tests that scares them off. No one in the kingdom can marry until Dauntless does. This is a problem for Lady Larkin (Bernadette Peters) and her knight suitor Sir Harry (Ron Husmann). They've had a...little indiscretion...and she's now expecting. King Sextimus (Gilford) can't do anything either, as he's under a curse that won't allow him to speak until "the mouse devours the hawk." 

Harry goes in search of a bride who can pass the tests and comes up with Princess Winifred (Burnett), who swims the moat to get in the castle. Call her "Fred." Fred is loud, brash, and has more energy than everyone else in the castle put together. Aggravain immediately hates her, but Dauntless wants to marry her. The queen devises a test that would have Fred feel a single pea under twenty mattresses. Larkin, Harry, and the Jester (Cox) lend a hand to make sure Fred will feel that darn pea no matter what!

The Song and Dance: No wonder Burnett loved this so much, she played Fred twice. She's got energy to spare and has some great routines, including her attempts to sleep on that towering bed. Berry is an adorably awkward Dauntless, Cox gets some of the best lines as the deadpan Jester who sees all and knows all, and Peters is hilarious as the sweet noblewoman with a big problem and a clueless boyfriend. The bright sets give the show the look of a pop-up storybook, and the colorful Bob Mackie costumes mix every color in the rainbow with total abandon.

Favorite Number: We open with Burnett singing "Many Moons Ago" as she tells the idealized picture book version of the story to her daughter. "An Opening for a Princess" gives us the actual version as Cox explains what's going on and we see the tests and learn Harry and Larkin's situation. Harry and Larkin admit that they'll be having an addition to the family "In a Little While." Princess Winifred tells everyone about "The Swamps of Home" when she arrives. She can out-dance the entire court, including the Queen and Prince, in "The Polish Panic." 

The Queen's ladies-in-waiting chant that the Queen wants "Quiet," when she's hardly quiet herself. While studying for her Princess Test, Fred laments that her "Happily Ever After" is a lot harder than for most fairy-tale heroines. Dauntless and his father have a "Man to Man Talk," or mime, about what Dauntless should expect on his wedding night. Harry and Larkin reprise "In a Little While" when they intend to run away. We end with the cast singing "An Opening for a Princess" as Dauntless carries the very worn-out Fred to their bed.

Trivia: The stage version started off-Broadway in May 1959, but moved uptown later that year. It played for over a year, until Burnett left the show. The 1960 London production with Jane Connell expired after three weeks. A Broadway revival in 2005 with Sarah Jessica Parker barely ran five months. Last month's Encores concert with Sutton Foster as Fred and Cheyenne Jackson as Dauntless seems to have been better received.

What I Don't Like: Once again, a lot was revised and eliminated from the Broadway version. Most of the Minstrel's exposition role went to Cox and to Lyle Waggoner as a nobleman the Queen is trying to seduce. Among the songs lost were the cute but extraneous "Very Soft Shoes," "Normandy" for Larkin, the Queen's "Sensitivity," and two more duets for Larkin and Harry, "Song of Love" and "Yesterday I Loved You." Oh, and if you don't like Burnett or her broad style of comedy, forget it. Also, I kind of wish we could have returned to the bedtime story prologue in the finale, if only to hear the kid's reaction to Burnett claiming that was the real story. 

The Big Finale: If you love Burnett, her show, or the wacky sitcoms of the late 60's and early 70's, you'll probably get a very big kick out of this satirical take on fairy tales. 

Home Media: This can currently be found as an extra on the DVD Carol + 2: The Original Queens of Comedy, a 1966 Burnett special that also includes Lucille Ball and Zero Mostel. It's also on YouTube (along with the long-lost 1964 version). 

Saturday, December 30, 2023

Animation Celebration Saturday - Happy New Year, Charlie Brown!

CBS, 1986
Voices of Chad Allen, Jeremy Miller, Kristie Baker, and Melissa Guzzi
Directed by Bill Melendez and Sam James
Music by Desiree Goyette; Lyrics by Ed Bogas

Let's join the Peanuts in one of their few full musical specials to celebrate the end of 2023. Though The Charlie Brown and Snoopy Show only lasted about a year on Saturday morning, the holiday shows continued to be institutions in prime-time. This would be their last holiday special until 1992, and the second to last one on CBS. How does Charlie Brown's difficult New Year look nowadays? Let's begin at school the day before Christmas vacation begins and find out...

The Story: Charlie Brown (Allen) is horrified when he's given the massive War and Peace to read over Christmas break for a book report. He's constantly distracted by the preparations for Peppermint Patty's (Baker) New Year's Eve party,  including a dance lesson. He does somehow manage to invite the Little Red Haired Girl, but Peppermint Patty thinks he's her date. Meanwhile, Sally (Elizabeth Lyn Fraser) wishes her "sweet baboo" Linus (Miller) would ask her, and Lucy (Guzzi) tries to get Schroder's (Aron Mandelbaum) attention away from him playing the music at the party.

The Animation: Pretty similar to all of the Peanuts specials, and most Saturday morning cartoons from this time. Admittedly, some of the backgrounds look nifty, especially when they get to the party and the kids are decorating. The characters move relatively well and look like their comic strip counterparts at the time, which is really all this franchise needs.

The Song and Dance: One of the better Peanuts specials of the 1980's. There's some great gags with Charlie's attempts to read War and Peace, and especially how he tries getting around it early on. Peppermint Patty also has some funny moments when she gets Charlie to the dance studio, and there's his attempt to ask the Little Red Haired Girl out. 

Favorite Number: "Slow, Slow, Quick Quick" is most of the lyrics for the song heard when the kids take their dance lesson at the studio. The melody still manages to be catchy as Peppermint Patty whirls Charlie around the floor. Patty also sings "Musical Chairs" when the kids play that game during the party. The song is so catchy that the kids are often still dancing along when the music stops. The traditional "Auld Lang Syne" comes in at midnight, as the kids all sing along...except for Charlie, who is sleeping outside.

What I Don't Like: The whole thing with the book report annoys me. Who the heck gives kids who aren't more than 11 a book that many adults can't get through to do a report on? The slightly episodic structure lacks some of the heart of earlier, more story-oriented entries like A Charlie Brown Christmas. 

The Big Finale: One of the more underrated Peanuts specials is worth checking out with the kids before the ball drops on New Year's Eve. 

Home Media: Easily found on DVD with I Want a Dog for Christmas, Charlie Brown, and on Apple TV with a subscription. 


And here's hoping all of my readers have a happy and healthy 2024!

Saturday, December 23, 2023

Merry Christmas! - How the Grinch Stole Christmas (1966) & The Berenstain Bears' Christmas Tree

Merry Christmas, one and all! This year for our closest review to the big day, we're covering one of the most beloved holiday TV specials of all time, and one that's not as well-known today. Do they still deserve a place at your holiday gatherings? Let's start down in Whoville as the Whos begin preparations for their own celebration and find out...

How the Grinch Stole Christmas
CBS, 1966
Voices of Boris Karloff, Thurl Ravenscroft, June Foray, and Dallas McKennon
Directed by Chuck Jones and Ben Washam
Music by Alfred Hague; Lyrics by Dr. Seuss

The Story: All the Whos down in Whoville like Christmas a lot...too much, if you ask the Grinch (Karloff). He finds their noise to be annoying and their Christmas cheer, especially their big Christmas Day gathering around the town tree, to be sickening. Fed up with the noise and sentiment, he makes himself a Santa Claus outfit, puts horns on his dog Max, and rides a sleigh down to Whoville to steal their holiday goodies. He thinks this will put a damper on their Christmas cheer. Not even a tree-stealing Grinch can stop the true holiday spirit, though, finally teaching the Grinch that "Christmas, perhaps, means a little bit more."

The Animation: Chuck Jones' signature style is all over this special. I don't think anyone can see the Grinch without thinking of that evil yellow grin and those expressive heavy eyebrows. The Whos, by contrast, are tiny and adorable, with their little child faces and slender teardrop bodies. Their pastel Christmas in the opening is wonderful to look at, with something nifty in every frame. And the Grinch may have found them unbearably noisy, but I did love the creative designs of their toys when he's complaining about how loud Christmas morning is.

The Song and Dance: Jones' animation and Seuss' classic script makes this one of the all-time great TV Christmas specials. The Grinch is a hoot to watch, especially just how he gets away with stealing everything and his defrosting afterwards. His dog Max has great moments of his own. I love his wide-eyed expression when the Grinch ties that horn on his head. Cindy Lou catching him is just adorable - I love how big that ornament is compared to her. 

Favorite Number: "Welcome Christmas" is the Who's song. This gentle greeting opens and closes the special and shows us why the Whos' holiday is so special to them...and why it annoys the Grinch. The first rendition of "Welcome" goes straight into "Trim Up the Tree," a Seuss tongue-twister showing off both the Who's unique decorations and Seuss' creative words for them. 

Of course, the big one here is the song heard throughout the special. "You're a Mean One, Mr. Grinch" is given extra weight by Thurl Ravenscroft's menacing bass and the constantly escalating lyrics. Some of the most creative insults and villain descriptions ever heard on TV come from this song. It perfectly captures what the Grinch is doing as he makes his plans and takes the Whos' goodies.

What I Don't Like: Honestly, the book isn't that long. There's a bit of slapstick padding with Max and the Grinch getting the sleigh down to Whoville, though it's not nearly as intrusive as similar sequences in the live-action and feature-length animated films. 

The Big Finale: This is one of the most famous holiday specials of all time for good reason. If you haven't watched it yet this season, do so, especially if you have younger children who will enjoy the Grinch's antics.

Home Media: Easily found on all formats; frequently runs on TV and cable during December as well.


The Bernstein Bears' Christmas Tree
NBC, 1979
Voices of Ron McLarty, Gabriela Glatzer, Jonathan Lewis, and Pat Lysinger 
Directed by Mordecai Gerstein
Music by Elliot Lawrence; Lyrics by Stan Bernstein

The Story: Papa Bear (McLarty) is determined to find the perfect Christmas tree, "a tree to show how Christmassy we are." Mama (Lysinger) recommends buying one from the local tree lot, but Papa takes their cubs Sister (Glatzer) and Brother (Lewis) into the mountains to find a real tree. What Papa didn't consider is  those mountain trees are home to wild animals who don't want to lose their residences for the holidays. If they're not being chased by angry critters, they're being pelted by the snow storm Papa claimed wasn't coming. They're disappointed when they finally get back down the mountain, until Sister notices something glowing at their own tree house...

The Animation: Not nearly as expressive as Jones' work on The Grinch, but there's still a lot of nice details here. I especially love the opening sequence as Papa carries his salmon through town and the snowstorm when they're in the mountains. The characters move less well, but they do largely resemble their book counterparts at the time, which is really all this franchise needs. 

The Song and Dance: The first Bears special gives us Papa in full-on goofy mode. In fact, other than the occasional comment from the cubs, this is almost entirely Papa's show. McLarty puts in likely his best performance as lovable Papa, who may be a bumbler, but can always be counted on to do the right thing in the end. (Eventually.) He gets most of the best moments, whether they're dodging an eagle throwing an ax or skiing and rolling back down the mountains. Some of the rhymes are almost as twisty as those in the Seuss special, especially in the "Christmas Tree" number going up the mountain. 

Favorite Number: We open with Papa strolling through a bustling Bear Town and wrecking havoc with his waving fishing hook as the rest of town sings that "Christmas Day Is Here." Papa and the cubs march along to "A Christmas Tree" as they describe the perfect tree they want to find. The finale has everyone, bears and wild animals, singing about how "The Christmas Star" that glitters over the tree house has brought them together. 

What I Don't Like: We don't really see much of the rest of the family. Mama is only in the beginning and just barely in the end. The cubs don't have that much to do besides pester their father to finally, FINALLY chop down something. Really, if you don't like Papa's antics, you probably won't be into this one.

The Big Finale: Charming comic tale is worth looking around for if you want to find a Christmas special for younger kids or have fans of the older Bears books at home. 

Home Media: On DVD bundled with episodes of the 1985 TV series. 


And here's hoping all of you have the very merriest of holiday seasons!