Alex Johnson Hotel
When we left the Guthrie after rehearsals and a week’s run, the next stop on the Leonard Nimoy’s VINCENT tour was Rapid City, South Dakota. Dennis Babcock, the production manager of the tour, had us booked in the historic Hotel Alex Johnson, a beautiful structure in downtown Rapid City.
Alfred Hitchcock had fallen in love with the hotel while filming NORTH BY NORTHWEST and used various locations in it whenever possible. He and some of the cast stars, including Cary Grant and Eva Marie Saint, also stayed there during the location filming in South Dakota.
Leonard Nimoy’s VINCENT was the opener for the theater section of the new city entertainment complex. A rodeo had officially opened the arena section the previous week, and had left a lingering odor throughout the complex. Cowboys were a dime a dozen in Rapid City but a real Hollywood star like Leonard was something special. Both the city officials and the hotel management rolled out the red carpet for us. It was perfect, except…
Erik, Leonard’s personal dresser, did not like the idea of having to watch black and white TV, the only kind they had in the hotel. He demanded to talk to the hotel manager. When Dennis and I got back from the setup at the theater, and Leonard and Mrs. Nimoy returned from a media conference, we all had supper in the hotel dining room. Erik informed us that we all had brand new colored TV’s in our rooms.
He told how he explained to the manager that our eyes were accustomed to color TV and watching black and white TV could cause us to have migraines. He went with the manager to two different stores to get just the perfect color TV’s and saw to it that a tech from one of the stores installed and fined tuned the TV’s. Erik was very proud of what he accomplished with his snow job, and when he brought it up again at the airport, none of the other four of us mentioned that we never turned on the TV’s in our rooms.
The Old Hand:
I enjoy watching the black and white reruns of PERRY MASON starring Raymond Burr, now as much as I enjoyed them when they weren’t reruns. And they have closed captioning, something I didn’t need back in the day but sure do now. In some of the episodes though, the cc tech is somewhat of a censor, a very prudish censor, using the x key whenever the tech deemed it is necessary.
A good example was an episode the other night where the murdered victim’s name was Dick and there was a lot of cocktail drinking. Every time the name ‘Dick’ had to appear on the screen, the censor changed it to xxxx. Every time the word ‘cocktail’ had to appear it was changed to xxxxtail. Pussycat was xxxxycat. Once you realize what is happening, you find yourself watching for other censorship changes instead of trying to figure out who the guilty party is. The tech would have a nervous breakdown if he or she was hired to work on today’s TV shows.
On of the best things about the series is the relationship between Perry and his secretary, Della Street. It didn’t start out that way in the novels. In the first, The Case of the Velvet Claws, the only one I ever read, Mason is a real sexist pig. He treats Della like she was something he scrapes off his shoes before entering a house.
SPOILER ALERT: Never hire Perry as a legal consultant because you will end up as the prime suspect in the murder that is sure to follow. The same rule applies to inviting J.B. Fletcher over for dinner, or allowing Dr. Sloan to give you medical attention. And, in watching any of these series, it is best if the viewer has been a member of AARP – for a number of years.
Published St. Paul Pioneer Press, Bulletin Board, 5/13/16
One show I never appreciated at the time, mainly because Mom insisted we watch it, was Life is Worth Living, starring Bishop Fulton J. Sheen and his invisible ‘guardian angel’. Basically it was a half hour sermon in prime time.
Bishop Sheen loved to disguise the sermon with humor, and he was good at it. He had a shtick where he would outline a point he was talking about on a large chalk board. Point made, he would walk downstage so the chalk board was out of camera. When he would come back to the board, it would be clean. He would always thank his angel for the erasure job, and would kid about how his guardian angel not only protects him, it also cleans up after him.
The show was stuck in a graveyard slot, Tuesday night, opposite the “king of television”, Milton Berle, Uncle Milty, who was so popular his network had signed for a 30 year contract. The Mutual Network thought it would be a cheap, (the Bishop worked for nothing), throwaway against the ratings giant. No way would it have the legs to compete against Berle. Wrong!
It rose steadily in the ratings and took a large audience away from Berle. Berle often laughed off the Bishop’s rise by saying they both had the same sponsor, Sky Chief, (Berle was sponsored by Texaco Sky Chief gasoline), and they both used old jokes. Sheen responded that people were calling him, Uncle Fulty. Berle didn’t laugh though when Texaco dropped him and Buick picked him, at a reduced price.
He never regained his title of king of TV and the network was stuck with a long contract. And, sad to say, Bishop Sheen introduced a genre to America, televangelism. The huge difference though is Sheen worked for free, and today’s televangelists work for as much as they can get their followers to send in.
As I started out by saying, I didn’t really appreciate the show until it was off the air and I was working in show business. Then I looked upon it fondly because Bishop Sheen was the only person I ever heard refer to a stagehand as an angel.