CBC Television Series, 1952-1982
by Blaine Allan
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CBC Series Index
FLAPPERS
Fri 7:30-8:00 p.m., 21 Sep-14 Dec 1979
Thu 8:30-9;00 p.m., 3 Jul-11 Sep 1980 (R)
Thu 8:30-9:00 p.m., 18 Sep 1980-2 Apr 1981
Thu 9:30-10:00 p.m., 4 Jun-10 Sep 1981 (R)
Mon 8:30-9:00 p.m., 28 Sep-5 Oct 1981 (R)
A situation comedy, Flappers was set in the Roaring Twenties. May, played by
Susan Roman, for whom the show was created, owns a Montreal nightclub.
Although business was brisk in any case, the place was even more active because
her chef, played by Victor Desy, bootlegged to the U.S. market. May was
surrounded by the loonies who worked for her: cigarette girl Yvonne Marie,
played by Andree Cousineau, cook Francine, played by Denise Proulx, a dancer,
played by Gail Dahnna, a bandleader, and Uncle Rummy. The regular cast and
guest stars included both Anglophone and Francophone performers. In the course
of the series, guests included Dawn Greenhalgh, Guy l'Ecuyer, Derek McGrath,
Ken James, Robert Haley, Jonathan Welsh, and Gisele Dufour.
Flappers was directed by Alan Erlich, and produced by Joe Partington, with
executive producer Jack Humphrey.
Sun 7:30-8:00 p.m., 23 Sep 1962-23 Jun 1963
Sun 7:30-8:00 p.m., 22 Sep 1963-21 Jun 1964
Sun 7:30-8:00 p.m., 20 Sep 1964-20 Jun 1965
Sun 7:30-8:00 p.m., 12 Sep 1965-12 Jun 1966
Sun 7:30-8:00 p.m., 11 Sep 1966-11 Jun 1967
Sun 7:30-8:00 p.m., 10 Sep 1967-16 Jun 1968
A half-hour panel game show, with a formula similar to Front Page Challenge's,
Flashback held down a Sunday evening time slot for six years. Instead of
having to guess a headline, Flashback's four panelists (three regulars, one
weekly guest) had three minutes to identify a person, object, or fad from the
past, and then interviewed the mystery guest after the quiz was done. Viewers
participated by contributing suggestions for the quiz, for which they were paid
twenty-five dollars if the panel guessed correctly and fifty dollars if the
panel went home stumped.
Producer Bob Jarvis reportedly surveyed 430 candidates for positions as host
and panelists. The first host, Paul Soles, did the show for only the first
season. Bill Walker replaced him and remained with the program until 1966,
when Jimmy Tapp took the chair. Maggie Morris was a panelist for the full run
of the program. Her colleagues included Alan Millar (l962-64), Allan Manings
(l962-66), Elwy Yost (l964-68), and Larry Solway (l966-68).
Don Brown soon replaced Jarvis as producer. (From 1964 to 1968, Brown produced
both Flashback and Front Page Challenge.) Flashback was created by Syd Wayne,
Frank Peppiatt, and John Aylesworth.
Sun 9:37-10:06 a.m., 16 Jun-22 Sep 1968
"A psychedelic show," Fleurs d'amour featured Nanette and Rony Roman.
Flight - The Passionate Affair
Sun 10:00-11:00 p.m., 19 Sep-10 Oct 1976
Sun 9:00-10:00 p.m., 10/24 May 1981 (R)
This series of four, one hour films, produced by Cameron Graham and narrated by
Patrick Watson, outlined the history of aviation in Canada.
Sat 6:30-7:00 p.m., 29 Jun-14 Sep 1974
A summer series, Flipside concerned the Canadian music and recording industry.
Host Jim McKenna welcomed guests, such as the Stampeders, Jack Cornell and
Robert David, and Jim Kale of the Guess Who, to perform and to talk. The show
also included film segments with such figures as Murray McLauchlan, who had
recently won three Juno awards, and the Ville Emard Blues Band, who were
preparing to play a concert at the Montreal Forum.
Host McKenna also produced the show, in Montreal.
Mon 9:00-9:30 p.m., 22 Jun-13 Jul 1953
A summer replacement, Floor Show took place in a nightclub setting, and
presented music by Canada's premier dance bands of the 1950s, including
orchestras led by Bobby Gimby, Chicho Valle, Art Hallman, and Mart Kenney. It
also featured regular performances by dancer Alan Lund. Don Hudson, the
producer in charge of variety programming for CBC Toronto, supervised the
program, which was produced by Drew Crossan. The show's host was Monty Hall,
then a Toronto radio announcer making his first appearance on television.
Tue 9:30-10:00 p.m., 27 Jul-7 Sep 1954
A half-hour summer show, Focus concentrated on sociological issues such as
"peace of mind" (l7 August), women (2l August), and job discrimination, with
hosts, writers Sidney Katz and Dorothy Sangster.
Mon 5:30-6:00 p.m., 4-25 Sep 1967
Sat 1:00-1:29 p.m., 29 Apr-24 Jun 1967
Focus, a series of public affairs documentaries produced in Montreal, had been
seen locally for some time, and went to the network for brief periods in 1967.
(The same thing happened to On The Scene, a Vancouver production, at the same
time.)Programs included visits to the headquarters of the National Film Board,
to the Montreal police training facility, and to an auto rally, and profiles of
Johnny Newman, the owner of the Montreal Beavers football club and of a ballet
teacher. The producer of Focus was Jack Zolov.
Tue 9:30-10:00 p.m., 4 Aug-15 Sep 1959
Produced by Pierre Normandin and featuring Terry Kielty, Focus On Ottawa took
viewers to points of interest in the Ottawa-Hull area.
A one hour or ninety minute, sustaining program, Folio followed Scope and
preceded Festival as the network's flagship program for quality drama and
musical performance. During Folio's run, CBC producers honed their craft and
developed greater consistency in generating such programming. To do so,
however, supervising producer Robert Allen took a more conservative position in
selecting scripts for the series. Writers Len Peterson and Charles Israel both
noted in 1956 that Folio demonstrated a kind of timidity that was
uncharacteristic of the CBC, particularly the radio drama practices of Andrew
Allan. (See Frank Rasky, "Canada's TV Writers: Timid But Slick," Saturday
Night [27 October 1956].)
The series opened with a production of Shakespeare's Macbeth, produced by David
Greene, and starring Barry Morse and Katharine Blake. Canadian- written
productions in the first seasons included W.O. Mitchell's The Black Bonspiel of
Wullie MacCrimmon, produced by Robert Allen and starring Frank Peddie; Take To
The Woods, a musical comedy by Vancouver writer Eric Nicol, produced by Norman
Campbell, and featuring Robert Goulet, Sharon Acker, Jack Creley, Helene
Winston, and Maggie St. Clair; a program of five dramatic situations by Len
Peterson, produced by Harvey Hart; Norman Campbell's production of The Woman
Who Came To Stay, by Ronald Hambleton; and The Hand And The Mirror, by Lister
Sinclair. At least two plays employed both director and producer, and
demonstrated a different organizational structure for CBC drama. Ibsen's Hedda
Gabler was produced by Paul Almond and directed by Esse Ljungh, and Shaw's The
Philanderer was produced by Robert Allen and directed by Andrew Allan. The
first season also offered opera (Puccini's La Boheme and Mozart's The Marriage
of Figaro) and dance (Offenbach In The Underworld, with the National Ballet,
and Moods and Variations, produced by Harvey Hart, with choreography by Gladys
Forrester, Jean-Leon Destine, and the Dance Drama Company of New York).
Subsequent seasons continued the format of presenting original Canadian stories
and adaptations of classic plays and productions. In the 1956-57 season,
Joseph Schull contributed A Case Of Posterity Versus Joseph Howe, which Robert
Allen produced, and an adaptation of Joseph Conrad's The Secret Agent. W.O.
Mitchell wrote The Devil's Instrument, and Tommy Tweed wrote John A. And The
Double Wedding for the program. Folio also presented the film version of
Oedipus Rex, directed at the Stratford Festival by Tyrone Guthrie. Other
progams included Swan Lake, performed by the National Ballet, and The York and
Chester Nativity Plays, directed by Andrew Allan. Other producers for the
series inlcuded Hart, Greene, Mario Prizek, and Ronald Weyman.
In its final season, Folio presented Donald Harron's and Norman Campbell's
musical adaptation of Lucy Maud Montgomery's Anne Of Green Gables, as well as
M. Charles Cohen's The Hostage and The Sailor And The Lady, by John Lucarotti.
Other productions included adaptations of Arthur Miller's Death Of A Salesman,
Fritz Hochwaelder's The Strong Are Lonely, and Ben Jonson's Volpone. The
National Ballet presented The Nutcracker, and the season also featured Benjamin
Britten's opera, Peter Grimes.
Folio did post a respectable, if not sterling, record for the production of
works by Canadian writers, with twenty-four in four years. The program that
succeeded it, Startime, which Robert Allen also produced, was essentially a
continuation of Folio, except that it was supported by a corporate sponsor,
Ford of Canada.
Alan Mills was the first host for this weekly broadcast of folk music aimed at
a young audience. The first half of the thirty minute program, produced in
Montreal, featured Mills himself, and the second half was devoted to
performances by his guests. In September 1955, after thirty-eight shows, Grace
Bartholomew took over the duties as the program's host, and the show shortened
to a quarter-hour.
The program's personnel (producer Francis Coleman and writer Sam Gessner)
obviously made a conscientious effort to book guests from different racial
backgrounds. At the end of the show's ninety-two week run, it was estimated
that the show had presented some sixty different groups who represented fifty
different cultures. Guests had included Chief Peking Fire of the Caughnawaga
Reserve, dancers Irene Alpine and Jury Gotschalks, actress Denyse Pelletier,
and, in the middle of a period when he was thought politically dangerous, U.S.
singer Pete Seeger.
Sat 6:30-6:45 p.m., 1 Jul-16 Sep 1961
Ed McCurdy had been singing folk music on CBC television since the first weeks
it went on the air. This fifteen minute summer program, from Halifax, offered
a typically informal mixture of song and talk about the music's origins and
meanings.
Mon 5:00-5:15 p.m., 13 Oct 1958-29 Jun 1959
Fri 5:15-5:30 p.m., 1 Apr-24 Jun 1960
Tue 5:00-5:15 p.m., 28 Jun-27 Sep 1960
Produced on film in Vancouver, this fifteen minute program gave tours of places
of interest in British Columbia. The films, made for children, included a
child as a guide to places such as the Vancouver International Airport, the
telephone company, or the post office. In one program, singer Ed McCurdy and
his two sons visited a tugboat dock.
Wed 2:30-3:00 p.m.,
Each week, Food For Thought concentrated on a different topic--such as apples,
protein substitutes, bread--in its examination of nutrition and physical
fitness. Consumer advisor Terri Clark and nutrition expert Edith Redman were
regulars on the show, as was Stephanie Ruys de Perez, who provided a fitness
segment for each program. Food For Thought was produced by Peggy Lipptrott.
Fri 9:30-10:00 p.m., 2 Sep 1960
Fri 10:30-11:00 p.m., 30 Sep 1960
Fri 7:30-8:00 p.m., 28 Oct-2 Dec 1960
Football Huddle was a weekly round table discussion on current developments in
the Big Four and in intercollegiate football, with CBC sports broadcasters
Steve Douglas and Fred Sgambati, Toronto Argonaut coach Lou Agase, and their
guests.
Mon-Fri 4:30-5:00 p.m., 11 Sep-20 Dec 1978
Wed 4:30-5:00 p.m., 31 May-6 Sep 1979
In the first part of the 1978 season, the CBC gave the title For Kids Only to
the weekday, after school time slot from 4:30 to 5:00. It included Catch Up
(q.v.) on Mondays, Pencil Box (q.v.) on Tuesdays, and What's New (q.v.) on
Thursdays. Wednesdays offered a magazine program, and Fridays a series of
specials, both of which appeared under the title For Kids Only. The magazine
program resulted from contributions and suggestions from young viewers from the
southern Ontario area. Children also acted as on-camera interviewers, and
discussed the results of their work for the program on the show. For Kids Only
was produced by P. Tredmann and written by Bev Matthewwson. The executive
producer was Don Elder.
Sun 9:00-10:00 p.m., 16 Jan 1977-To Date
For The Record, a series of one hour and ninety minute film dramas, started on
the series, Performance, as a subseries called Camera '76. Each year, the CBC
produced four to six new programs and, starting 1979, repeated programs from
previous series. For The Record productions--which the CBC has called
"journalistic dramas"--generally dramatized a specific social problem or issue.
At its best, particularly in early productions such as Dreamspeaker, The
Insurance Man From Ingersoll, or The Tar Sands, it has been compelling and
disturbing, high quality television drama. At its worst, For The Record simply
illustrates the social scenarios it takes from newspapers and research.
Ralph Thomas and Stephen Patrick, who had been producers in public affairs,
produced the Camera '76 series, and Thomas continued as executive producer when
the program evolved into For The Record. He was succeeded in 1979 by Sam
Levene, who produced the series until 1983, when he was replaced by Sig Gerber.
For the 1976 season, Ben Barzman was credited as a consultant to the series.
Barzman, who was born in Toronto in 19ll, had written in Hollywood from the
early 1940s until the 1950s, when the House Un-American Activities Committee
investigation into Communists in the motion picture industry pushed him into
self-exile in Europe, where he worked most notably with Joseph Losey. (More
recently, he had collaborated with Gilles Carle on the 1976 film, La Tete de
Normande St. Onge.)
One of the few continuing, sustaining dramatic series on the CBC in the late
l970s and the 1980s, For The Record has attracted most of Canada's most
important film directors of the period, most of whom had worked in both
documentary and narrative film.
The Camera '76 series opened with The Insurance Man From Ingersoll, a sometimes
confounding drama of corruption in organized labour and the backrooms of
Ontario politics. Written by Norman Hartley and Peter Pearson, and directed by
Pearson, the program drew attention not only for its allegations concerning
political corruption and interference, but also for the casting of well-known
CBC announcer Warren Davis as the laconic and ominous party "fixer."
Subsequent productions included Mest Of Shadows, written by Michael Mercer and
directed by Peter Carter; A Thousand Moons, directed by Gilles Carle from a
script by Mort Forer; Kathy Karuks Is A Grizzly Bear, written by Ralph Thomas
and directed by Pearson; and What We Have Here Is a People Problem, written by
Mercer and directed by Francis Mankiewicz.
Now called For The Record, the 1977 series started in the new year with a story
about a young woman who tries to organize the workers in her factory. Maria
was written by Rick Salutin and directed by Allan King. Someday Soon was
adapted by Rudy Wiebe and Barry Pearson from a story by Wiebe, and directed by
Don Haldane. Dreamspeaker, the story of an emotionally disturbed boy and a
native shaman, was written by Cam Hubert and directed by Claude Jutra. Hank,
with a script by Don Bailey and Ralph Thomas, was directed by Don Haldane.
Ada, based on a story by Margaret Gibson, was written and directed by Claude
Jutra. The final program in the series, written by Peter Pearson, Peter Rowe,
and Ralph Thomas, and directed by Pearson, attracted more controversy than any
other segment of the series, and probably more than any other dramatic
production of the CBC. The Tar Sands imagined and recreated the negotiations
that led to the Syncrude agreement for the development of the Athabasca tar
sands in 1975. It included both fictional characters and characters based on
actual participants in the historical events, including Alberta premier Peter
Lougheed, played with stirring accuracy by Kenneth Welsh. As a result, the
Alberta politician filed suit against the CBC, and the action was not resolved
until an out of court settlement in Lougheed's favour in 1983.
A Matter Of Choice, written by Cam Hubert and directed by Francis Mankiewicz,
opened the 1978 season. It was followed by Scoop, written by Douglas Bowie and
directed by Anthony Perris. Dying Hard, based on interviews from the book by
Elliott Leyton, written by Bill Gough and directed by Don Haldane, concerned
the epidemic silicosis among the fluospar miners of St. Lawrence, Newfoundland,
and the closing of the mine and the consequent killing of the town. Seer Was
Here, written by Don Bailey and Claude Jutra, who also directed the film,
closed the season.
After Thomas left his position as series producer, the program turned less
often toward political conflict and more often toward continuing social
problems for story pretexts. After Sam Levene took over as executive producer,
Thomas directed the opening episode of the new season: Cementhead, which was
written by Roy MacGregor and Thomas. Don't Forget 'Je Me Souviens.' the next
program in the series, was written by Carmel Dumas and directed by Robin Spry.
Homecoming, written by B.A. Cameron (Cam Hubert), was directed by Gilles Carle.
Certain Practices was directed by Martin Lavut from a script by Ian Sutherland,
and Every Person Is Guilty was written by Ralph Thomas from a story by Roy
MacGregor, and directed by Paul Almond. The CBC repeated six episodes through
the summer of 1979, and added a single episode, called One Of Our Own, written
by Florrie Adelson and directed by William Fruet, on 3 October 1979.
The series resumed on 2 March 1980 with The Winnings of Frankie Walls, written
by Rob Forsyth, directed by Martin Lavut, and starrring Al Waxman as a labourer
who had to reeducate himself after being laid off. Harvest, als written by
Forsyth, was directed by Giles Walker; Maintain The Right, writen by Tony
Sheer, was directed by Les Rose; A Question Of The Sixth, writen by Grahame
Woods, was directed by Graham Parker, who also directed Lyon's Den, written by
Tony Sheer. One Of Our Own aired as a repeat to close he series.
The 198l season opened with Helen Weils's and Bill Gough's A Far Cry From Home,
a ninety minute segment directed by Gordon Pinsent. Snowbirds, based on a
story by director Peter Pearson, and written by Margaret Atwood, followed, as
did Running Man, which starred Charles Shamata in Anna Sandor's story of a
middle-aged man discovering his own homosexuality, which was the first dramatic
film directed by documentarian Donald Brittain. Cop was written by Grahame
Woods and directed by Al Waxman, and Final Edition, the story of a newspaper's
closing, written by Tony Sheer and directed by Peter Rowe, ended the series for
the year.
An Honourable Member, written by Roy MacGregor and directed by Donald Brittain,
starred Fiona Reid as a federal backbencher who is made a Cabinet Minister.
Subsequent programs in the 1982 season included By Reason Of Insanity, written
by David McLaren and directed by Don Shebib; High Card, written by Anna Sandor,
directed by Bill Gough; Becoming Laura, written by Gordon Knot and directed by
Martin Lavut (followed by a documentary, I'm Just A Kid, directed by Michael
Savoie); and Blind Faith, adapted by Ian Sutherland from a story by Edward
Cullen, and directed by John Trent. The season closed with repeats of Final
Edition and A Question Of The Sixth.
See Gail Henley's article, "On The Record: For The Record's Ten Dramatic
Years," in Cinema Canada, No. ll7 (April 1985), pp. l8-2l, which outlines the
evolution of the program through interviews with John Hirsch, head of CBC Drama
at the time the series began, John Kennedy, his successor, executive producer
Sig Gerber, and producer Maryke McEwan. Henley also documents the program's
success in foreign sales and the awards it has won. See also Seth Feldman, "On
Television Docudrama: The Tar Sands," Cine- Tracts, No. 4 (Spring-Summer
l978), reprinted in Feldman's anthology Take Two (Toronto: Irwin, 1984).
See Startime.
One week out of every four, Ford sponsored a ninety minute television play that
ran in the Friday night slot usually held by CBC Television Theatre. The plays
were produced by Peter McDonald, and the first in the series was Call It A Day,
written by Dodie Smith.
See Diplomatic Passport.
The Forest Rangers, a highly successful adventure series for children, was
developed by executive producer Maxine Samuels as an independent venture, with
the cooperation of the CBC. By the time the show aired in Canada, it had
already been sold to networks in England, France, West Germany, and Australia,
and by 1966, over forty countries could watch the adventures of a gang of
resourceful Canadian young people who lived in northern Ontario.
The show took place in and around a village called Indian River, but the real
focus of the story was an abandoned fort that had been taken over by the Junior
Rangers. The fort was their headquarters, where they set up their ham radio,
and helped keep watch for forest fires and other conservational offences. They
ran up against not only poachers, but a succession of thieves, escaped
criminals, spies, and other wrongdoers. When discovered, one or more of the
Junior Rangers might be tied up, locked in a cellar, or otherwise held captive
until they found a way out or were rescued by the government ranger or the
R.C.M.P. Although the program's stories were principally adventures, they
sometimes had an educational slant. For example, the story might have
concerned poaching beaver pelts, but during the course of the show, viewers
would see the part beavers play in the ecology of the region.
The leader of the Junior Rangers was Peter Keeley, played by Rex Hagon, whose
brother George Keeley, played by Graydon Gould, was the Chief Forest Ranger for
the area. (Hagon left the show after the first couple of seasons.) Ralph
Endersby played Chub Stanley, a city boy who moves to Indian River to live with
foster parents, and is welcomed into the Junior Rangers. The other rangers
included Mike Forbes, played by Peter Tully, and Kathy, played by Susan Conway.
Early in the series, Syme Jago appeared as Gaby LaRoche, and Paul Tully
portrayed Zeke. Apart from George (the only adult relation to any of the young
characters to appear in the show), other adult characters included Uncle Raoul
LaRoche, played by Rolland Bedard, Indian Joe Two Rivers, a guide played by
Michael Zenon, and R.C.M.P. Sergeant Brian Scott, portrayed by Gordon Pinsent.
The dog was named Spike and the bear was Carol.
The Forest Rangers was produced in colour, on film, and had quite high
production values. Samuels hired such producers as Ted Holliday and William
Davidson, and attracted such people as Paul Almond, George McCowan, Ronald
Weyman, and George Gorman to direct individual episodes. Lindsay Galloway
wrote most of the scripts for the series. The program was shot at Toronto
International Studios at Kleinburg, Ontario, where the crew built bridges and a
town street to represent Indian River, and also found the abandoned fort (left
over from the Hudson Bay television series) which they turned into Junior
Rangers headquarters.
Initially, the CBC aired The Forest Rangers twice per week: once in its own
thirty minute slot, and also in shorter, serialized segments on Razzle Dazzle
(where it bore a resemblance to an Australian adventure series for children,
The Terrible Ten, also serialized on the CBC show).
Wed 10:30-11:00 p.m., 31 Oct-5 Dec 1962
Wed 10:30-11:00 p.m., 12 Dec 1962-16 Jan 1963
The Formative Years, a half-hour program, consisted of two subseries, each of
which dealt with a period in Canadian history in the nineteenth century.
The first, called A War For Survival, concerned the War of l8l2, and was
produced for the CBC by Melwyn Breen and written by Eric Koch. The first three
programs--called Judgment At Ancaster, Mr. Madison's War, and
Loyalty--presented dramatic sketches to outline the political, social, and
economic conflicts of the war. The productions featured actors Charles Palmer,
Edwin Stephenson, Larry Reynolds, Gillie Fenwick, Scott Peters, Desmond Scott,
Ivor Barry, Mavor Moore, Bill Kemp, Paul Dupuis, Drew Thompson, Leo Leyden, and
Jean Doyon, and were narrated by University of Toronto professor John T.
Saywell. In the fourth program, Fact or Myth, Saywell discussed the war with
historians C.P/ Stacey of the University of Toronto, Arthur Lower of Queen's
University, and Jean-Pierre Wallot of the University of Montreal.
The second series, called Road To Confederation, comprised five films produced
by the National Film Board. The films recreated the major figures of
Confederation. The Impossible Idea, written by George Salverson, produced by
Julian Biggs, and directed by Gordon Burwash, starred Robert Christie as John
A. Macdonald. In The Stubborn Idealist, written by Charles E. Israel, and
produced and directed by Biggs, John Vernon portrayed Alexander Galt. The Lion
Of Quebec was Georges-Etienne Cartier, played by Paul Hebert in a production by
Biggs, directed by John Howe and written by M. Charles Cohen. William Needles
was Charles Tupper in The Big Man, another Biggs production, directed by Morten
Parker. In the final program, Mister Lafontaine, written by Lise Lavallee and
Pierre Patry, directed by Patry, and produced by Julian Biggs and Bernard
Devlin, Jean Coutre played Jouis-Hippolyte Lafontaine.
The executive producer of Fortunes, was Wendy O'Flaherty, for the CBC's
Agriculture and Resources department, The program dealt with the political and
economic aspects of natural resources and resource industries. Several
programs concerned the petroleum industry and explored Canada's place in the
international market. Other programs concentrated on asbestos in Quebec, deep
sea mining, fishing in Newfoundland, and forestry in British Columbia.
Producers for the show included O'Flaherty, Hal Andrews, and Judith Walle in
l977, and Jack Emack, Michael Barnes, and Peter Reynolds in 1979. The show was
hosted by Carole Taylor.
Tue 10:30-11:00 p.m., 9 Jul-27 Aug 1957
Eight half-hour shows for the summer of 1957, The Four Corners was a series of
subjective travel essays by Canadians. Leo Rampen talked about Paris, using
his own drawings. Writer and editor Kildare Dobbs discussed his childhood in
Ireland and Tanganyika, using music, film, and his own poetry. Alan Brown
provided a portrait of Spain through the traditions of flamenco, using film,
poetry, music, and dance. Other programs included Raoul Engel on Japan, and
the Danish explorer Peter Freuchen.
The program was produced by Ted Pope and hosted by Patrick Watson.
Thu 10:30-11:00 p.m., 5 Jun-28 Jun 1958
Four Faces Of Man was a series of four, half-hour broadcasts on Thailand,
Sarawak, Singapore, and Japan, produced by Robert McKeown and John Buss.
A half-hour public affairs show, with Mary Lou Finlay, Heather Quipp, and Bob
Knapp.
Four For The Show was an early musical variety show, which starred Libby
Morris, Shirley Harmer, George Murray, Billy O'Connor, and a band led by Bert
Niosi. The series lasted only a few months, and most of the regulars moved
over to The Big Revue.
Working title for Stay Tuned (q.v.).
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FOUR FOR THE SHOW
