Playhouse 90

Playhouse 90 featured some of the best that Television has ever presented. The dialogue, the acting, and of-course the writing are unparalleled.

Rod Sterling being one of the most accomplished and notable writers who worked on the series, won an Emmy for Requiem for a Heavyweight in the series first season in 1956. This episode was a testament to the quality and creativity that Playhouse 90 was committed to.

Unfortunately, we can only hope with extreme futility, for quality on par with Playhouse 90 from todays Hollywood. However, there is reminisce of this type of excellent writing from Independent filmmakers. Unfortunately, the independent filmmakers receive little fanfare and far less hype compared to their Hollywood counterparts.

This was the jewel in the crown of the golden age of television, the fifties and early sixties. This show had the best actors, the best directors, and the best writers. Many of these were on kinescope and are available somewhere, in a vault somewhere, or happily for the rest of us, at the Museum of television and radio. Some of the shows I have seen are The Comedian, with Mickey Rooney as a beloved comedian, who is a vulture in real life (kind of a similar story to A Face in the Crowd). It is one of Rooney's best performances. There is also the beautiful Requiem for a Heavyweight, with wonderful performances by Jack Palance, Ed and Keenan Wynn, and Kim Hunter. It is probably the best known of these shows. Also there is Days of Wine and Roses, with shattering, brilliant work by Piper Laurie, Cliff Robertson, and especially Charles Bickford. It equally comparable to the film. And recently I have been able to see A Sound of Different Drummers with Diana Lynn and Sterling Hayden. It is a story about a future society where books are banned; book owners are killed. It is sort of similar to Farenheit 451; it is very good, with touching performances by both stars. The best one of all that I have seen is The Miracle Worker. I was so excited that a copy exists. It is equally comparable to the film and features an outstanding, Emmy nominated performance by Teresa Wright as Annie Sullavan. She should have gotten the Emmy, and been able to continue her role in the stage and film versions, all respects to the wonderful Anne Bancroft though! It is the best of her many fine fifties televsion performances and right up there with A Shadow of a Doubt and The Little Foxes in terms of her best performances of all time. Several of these shows are available on VHS, too bad they all aren't!

The exception to Playhouse 90's being exclusively a Hollywood production was "The TIME Of YOUR LIFE", which came out of CBS TV's New York Studio. It starred JACKIE GLEASON in his finest, dramatic TV performance. The production's "humble" Casting Director/Assoc.Producer is proud to point out that it introduced, revealingly that the Eastern seaboard's socialite DINA MERRILL was and is a remarkably talented Actress.

On Oct. 11, 1956, the second episode of Playhouse 90 was aired. It was Requiem for a Heavyweight by Rod Serling, starring Jack Palance. It was another masterpiece from the golden age of television. Luckily, Requiem was recorded as kinescope. The recording quality is poor, but the play was and is drama at its best. If you can find Requiem at your local video store and you like great drama, please watch it. You will not be disappointed.

"Playhouse 90" came as the grand finale of that elusive TV genre which precedes even my 44 years on this earth: the dramatic anthology. Prior to this one, anthology programs had existed on the infant medium for almost a decade. The networks had KRAFT TELEVISION THEATRE, FORD THEATRE, GOODYEAR PLAYHOUSE, and STUDIO ONE as early as 1948. They all had the same common goal: presentation of self-contained, live, dramatic stories, their quality rivaled only by the best of the Broadway stage. (It was no coincidence that many of these dramas were produced in New York.) While all previous series were only 30 and 60 minute episodes, P90 introduced something new: its show was done in the "Television City" studio in Hollywood, and it was a lavish, unheard of, *90* minutes. In those days a live play could exist on a sound-stage without a studio audience with intimate, claustrophobic, camera set-ups, and present over a span of 90 minutes, "The Plot To Kill Stalin;" "Bomber's Moon;" "Bitter Heritage;" "Requiem For A Heavyweight;" "No Time At All," "The Comedian," "The Helen Morgan Story," "Judgment At Nuremberg," and "The Miracle Worker" straight through, without second takes, and on a week-by-week basis!! Stories were adaptations by Hemingway and Faulkner, as well as originals by Reginald Rose, J.P. Miller, and Rod Serling- all with stellar actors and directors. Eventually some productions were filmed in kinescope or on location as TV-movies, but the productions I'd kill to see are the ones which initiated the first ever videotape. Because videotape was not up and running until late 1957, the P90 archive of plays is uneven. Most of the museum archive is still on kinescope (which you can see at one of the two MT&R television museums on the coast of your choice), but the good news is that many plays from the last two years of the series were captured on glorious black-and-white videotape- the medium which comes closest to simulating the original live broadcast. A CBS special in 2002 dusted off some of these tapes and aired- probably only for the second time ever- clips of 1958's "The Old Man" and "Days of Wine And Roses," 1959's "Judgment at Nuremberg," and the final P90 from 1960, "In The Prescence of Mine Enemies." I suspect, sadly, that these show quality tapes are probably tied up in copyright laws and cannot be shown publicly. The series was a short, brilliant blaze of Emmy-winning glory, and came to a crashing halt in 1961- one year before I was born. I miss it.