I'm Gonna Buy A Paper Dolly

Willa Paskin's Decoder Ring is a podcast that examines the workings of different pop culture artifacts. How they came to be, how they might be different than how we have come to understand them, and how they continue to work in the world. It's not one that I listen to regularly, but if the topic is one to which I feel drawn, I've found it pretty inspiring. The latest episode on paper dolls is one of those. It features a paper doll artist by the name of David Wolfe, who's work I've long admired, those featuring movie stars like Judy Garland and Rosemary Clooney. His work is whimsical, and incredibly evocative, but unlike some other contemporary paper dolls I have seen, these don't simply reproduce the details of past costumes, but they evoke a feeling of nostalgia and glamour from a contemporary perspective. There's a lot of yearning in the David Wolfe's illustrations.

The paper doll art of David Wolfe, available at paper dollywood.com

Myself? From the ages of five to seven, I had an accordion file, maybe three inches thick max, in which I kept my paper dolls. I'm not sure how I was first introduced to paper dolls, but I can only imagine that one day when my mom and I were at the drug store looking at coloring books, I'd seen the Walt Disney "Snow White" paper dolls and pleaded for them until she relented. My aunt, who often watched e during the day while my mom was at work, would help me with cutting them out, and showed me how to put them on the stand. The funny thing is, I don't really remember playing with them much, as I remember cutting out each outfit as delicately as I could, because any bit of white at the edges spoiled the illusion of the clothes. I also remember poring over the pictures, and imagining what they would look like on Snow White. The actual product of them on the stand was never as satisfying as the pictures of what the result might be. Those imaginings were perfect in a way that the reality of snipped up and folded paper could never be. My next paper dolls were Wizard Of Oz paper dolls. I was only interested in paper dolls based on characters that I already knew, and in the ways that those different outfits would change the way I thought of them, open them up to different possibilities and futures in which they might need a Halloween costume, or a fancy gown.

Now that I've gotten older, paper dolls inhabit a strange in-between place for me. They are not quite dolls in the way that we think of them. They're a craft project, easily dispensable, and they cost little more than a coloring book.  All of these qualities are what made it acceptable for my mother to buy them for me. And, the art of some paper dolls, especially those of David Wolfe,  you'll have to forgive the pun, "stands up on its own" and is worthy of framing, but the dolls, by their very nature, were meant to be cut up and played with, even though the execution of that "play" takes something away from them, because the reality of them in action is never quite as beautiful as the promise of their pristine state. And that, for me, is one of the very things that makes them fascinating. They exist as a great big beautiful tease, like a "mint in box" collectible toy just beckoning you to take it out of its box and play with it.

If you're curious to find out more about paper dolls and their beginnings, including the art form's hidden queer history, the Slate podcast episode can be listened to here or anywhere you get your podcasts. To admire and purchase the work of David Wolfe, visit https://paperdollywood.com.

Happy 130th Birthday, Irving Berlin!

For a man who's songs have become synonymous with the celebration of some of our biggest holidays, those songs being God Bless America, Easter Parade and God Bless America, respectively, how do you pay homage to him on his personal holiday, the 130th anniversary of his birthday? These two clips are a great start, as they highlight two very different sides of his artistic sensibilities, both written relatively early in his career.

First up is a Garland performance of What'll I Do (1924) from one of the "Trunk Spots" of her television show, filmed in 1963. This is one of my favorites from the series for its simplicity, and its authenticity. The song was inspired Berlin's anguish at the death of his mother, with whom he was incredibly close and who's loss would also inspire All Alone (1924).

Next is a really terrific performance of You'd Be Surprised (1919), from Madeline Kahn performed live at his 100th birthday celebration back in 1988. Kahn maintains the song's intended style and perfectly illustrates how witty and risqué he could be.

For those of you who need a further fix, there is an incredibly long list of great songs and musical cast albums to plum, including songs like Cheek to Cheek, There's No Business Like Show Business, and his first gigantic hit Alexander's Ragtime Band, but these are my personal favorites, as sung by two of my personal favorites.

Happy 94th Birthday, Judy!!!

When it comes to paying tribute to Judy on her birthday, it is really difficult to pick just one moment that perfectly demonstrates her contribution to entertainment, and to performing.  A lot of this is simply because there are so many different facets to her.  It's hard to find a clip that captures everything, and that I haven't already shared here at one point.  That being said, here is a vocal track of Garland singing You Made Me Love You on The Bing Crosby Show at a point in her career when she was physically robust and her interpretive skills had been freed from the girl next door image she was tied to at MGM.  It's a fresh, more grown-up Garland.  Enjoy!

Night Of A Thousand Judys: Part 3

Seeing as I've dragged this subject out longer than was probably necessary, I will not belabor my feelings on the show itself, however...there are some parts of it  that I feel really need to be praised, especially those moments, and those performers who approached the material with a true heart.  
Surely, one of the reasons Garland touched a chord with the gays is that she was an incredibly sensitive and emotional person, and a brilliant artist who was courageous enough to let that emotion be her artistic medium.   As a sensitive little boy learning that there was a side of me that should be hidden and repressed, when I found this woman who blatantly tossed that philosophy aside and used all of her surging emotions as a kind of super power?  It hit me that there was a different way to be, and it was just one of the things that made her my hero.

There were some pretty powerful entertainers onstage who illustrated this principal to perfection.  
The host, Justin Sayre, as much as anyone, spoke his truth up on that stage  He opened the show in a black flowing blouse trimmed with beads, sporting high heel pumps, and backed by a bevy of lanky young dancing boys.  He cavorted, he schmoozed, and he sang I Feel A Song Coming On both reveling in the joy of the number, and without a hint of irony.  It was one of the most successful productions of the concert and really got me geared up for a great show.  Throughout the rest of the evening Justin was candid, vulnerable, self deprecating, and really respectful of Garland, as well as the issue that the show is raising funds for, to provide support for homeless LGBTQ youth.

Justin Sayre, Kevin Quilon, Adam Perry, Ryan Steele, and Charlie Williams perform "I Feel A Song Coming On" (photo by Stephen Sotokoff)

Other highlights included Barrett Foa,  singing a sweet and sincere version of I Happen to Like New York, and T. Oliver Reid really nailing the visceral excitement of Judy's Come Rain Or Come Shine--- Sidebar: I couldn't help but notice that the man I couldn't help but notice that the man performed in a bright white tuxedo, and when he came out for the finale, an ensemble sing a-long, he had switched to a black tux.  He was the only one in the concert, that I noticed, who worked in a costume change.  Good on you, T. Oliver Reid.,---   and a band that really soared.

One of the big musical discoveries, for me, was Gabrielle Stravelli.  She sang I Could Go On Singing effortlessly, with a true respect for the material, a gorgeous instrument, and with an approach that made the song her own, and yet, stayed true to the spirit of the original.  She didn't showboat or place vocal stylings above substance, she just let it out.  Every beat, every note, was golden.  I will absolutely be seeking her out in the future.

Night Of A Thousand Judys: Part 2

I ventured out to Merkin Hall on Monday night, after a stop at The Night Hotel on 45th for a glass of wine.  The hotel is this dark little glam spot on 45th street that seems like, at 5:00PM all the vampires who make this place their home will just now being stirring around in their coffins to suck the world dry.  The logo even looks like a graphic designer vampire crafted it...

The bar within the hotel is called "Red Moon" and has an equally creepy logo...

Now, in case you are wondering.  This whole mid-nineties glam vampire, "this is a place where human sheep come to lose their mortal souls" vibe???  I LOVED it.  I like a dash of danger in my bars, and I'd been told that the waitresses were very welcoming, and that if I sat at the bar they would make sure I was well taken care of.  They didn't disappoint.  They were both so sweet, and seemed to take a genuine interest, chatted me up like they were hosting a very intimate party, and the glasses of wine were generously poured, with great happy hour prices.  

This particular night my soul was left intact.  No wan and pale emo man slathered in eye makeup up lured me up to his room.  Instead, I skipped on out into the night and headed toward Merkin Hall! Yes, that's its name, and yes, many a merkin joke was made throughout the evening.

I arrived about twenty minutes early, which was plenty of time to check out the surroundings and the masses of gay folk who had attended the benefit.  There were loads of men in blue gingham dress shirts, and a couple of them even sported red tennis shoes.  I felt a little out of place, but only because I was alone, and didn't know anyone there.  Every one else seemed to be completely at home, or was putting up a very good front.   I headed over to the restrooms, and luckily there was a cute boy in line who I chatted with for a while, and he regaled me with the fact that this benefit was an extension of "The Meeting", a monthly show at  Joe's Pub, which pays homage to varying gay icons.  While he loved Judy, of course, he was primarily a fan of "The Meeting", and visions of me and this big hunk of inappropriately aged blond corn fed cuteness watching "Summer Stock" with me on a Wednesday evening, and of the two of us shopping picking out "His and His" throw pillows at the Jonathan Adler, well they faded.  In the meantime, I had spotted a woman near us in the corner that I recognized as an important personage in the Judy fan circles, and I'd always appreciated her level headed words, her "appropriate" levels of fandom, and her seemingly kind nature.  I wanted to introduce myself to her, but I was torn!  Salvage my future relationship with this cute boy?  Or meet my future Judy fan bosom buddy?  Cute boy?  Or Judy friend??

Judy Garland by Pablo Lobato

I went with the Judy fan, and while she was wonderful and sweet, I worry that in my excitement to meet her I overwhelmed and terrified the shit out of her.  This is something I've been known to do.  When I like someone, I cannot hide it.  It kind of oozes out of me, and if you aren't ready for that kind of puppy like affection, it might be...off putting?  Well, there was time to worry about that later.

In the meantime, I was enjoying the show.  All the fancy gays preening and parading, the art work up for auction...   here I was admittedly surprised to find the offerings rather sparse.  There were about five pieces up, one of which I recognized from press at last year's auction, and one which was essentially a glorified ad for the event.  There were two pieces there, however, that were pretty terrific.  One was this gorgeous caricature of Judy from Meet Me In St. Louis by Pablo Lobato, who's work has been featured in many publications, including "Entertainment Weekly".  At the beginning of the show it was already up to $500 and was sure to rise by twice that towards the end of the evening.  The other piece I loved was by Felix D'eon, an artist who does these very detailed, retro  works (some of them slightly obscene) in which he queerifies mid-twentieth century comic book art and Greek mythology, among other things.  I had actually purchased one of his sweeter, more tame pieces awhile back, and the piece on display was a playful drawing of a youngish boy in Dorothy drag and a young man flirtatiously grabbing his wig.  Again, if I'd had money to spare...Incidentally, the photo  I snapped of the piece does not do it justice, so rather than post a blurry representation of his work, I give you this, as a prime example of his stellar illustrations...

"Spaceman Embrace" By Felix D'eon

Before I knew it, they were playing chimes over the loudspeaker and dimming the lights to let us know it was time to head into the theatre, and when I sat down in the balcony I was pleased that I had a great view of the stage, and was flush with excitement for the show to come.

Coming Soon:  The show itself!

A Double Dose Of Judy

Found a couple of Judy clips that I had to share.  One was made by TCM, featuring Judy as their star of April (so it's out of date in that aspect) and captures a piece of what makes her so thrilling.  I could watch it again and again...

The other is an old clip of Judy's T.V. show, featuring Ray Bolger.  It's so off the cuff and in the moment, so potently charming that I had to post it.  Yes, she's a little throaty in this clip (which doesn't really get going until about a minute in), but no it doesn't keep her from being captivating.

"Judy And I" By Sid Luft, due out March 2017

Here, a little late, is the promised post regarding the upcoming Judy memoir by Judy's third husband, Sid Luft.  Sid is probably the most controversial man in Judy's life, as some consider him to be the one man who kept her productive and happy, limiting her pill intake and getting as close to "rescuing her" as anyone could (if it's even possible that one person can save another person, and assuming Judy needed rescuing).  Others consider him a control freak who used her, spent a great deal of her money at the racetrack, and alienated a lot of powerful in the film industry who were eager to work with Judy, but didn't want to have to negotiate or hand over any power to Sid, who was part of the deal if anyone wanted to work with Garland at the time.  Of course, the thing closest to the truth is probably that he was all of those things.  

I for one, always thought that one of the major problems that plagued Garland from the beginning of her life to its end, is that she was never taught to believe in her own strength as a person, nor was she taught to take care of herself.  As a result, she went from caretaker to caretaker hoping for someone who would offer her strength, stability, and a business mind that was after her interests.  In return, she offered everything she had.  She would give these people her trust, her love, her talent, and make her opportunities their opportunities.  Doubtless, some of the people in her life started with great intentions, loved her deeply, and wanted to help her.  However, truly helping her would have meant teaching her to manage herself, which might have made the person who used to do that job, dispensable.  That wasn't a risk anyone wanted to take.  And it wasn't an easy task.  I mean, it should have been done when she was a kid.  Instead, her childhood was spent teaching her to entertain, and to put faith in others to mold her image, tell her what to wear, what to eat, and who to be seen with.  

I find it fascinating that Judy was known for being a "less than skilled" dresser, when she had to dress herself.  I mean, as a young woman she was perfectly coiffed, well dressed, and on many lists of the most fashionable women, but that was because she was "costumed".  No wonder that when she got older and was in charge of dressing herself that she would often put it in her contract that she got to keep clothes from photo shoots and film sessions.  And she wouldn't just "collect" these clothes for posterity.  She wore them out over and over again, because she knew without a doubt that those clothes made her look good, and as a result they made her feel good.  And for someone who needed to be seen at her best in public nearly 24/7, especially given her later reputation, imagine how important clothes were.  

But back to Sid, and his upcoming, postmortem memoir.  According to John Fricke, Sid tried many times to write a memoir of his life with Garland.  After all, of the many businesses he had tried to succeed at, the only one which had really been successful was the Judy Garland business.  It was all he had.  And surely in his mind, he had earned that right.  He had loved her longer and harder than anyone else.  Selfishly?  Perhaps, but who truly loves unselfishly?  He had gotten into the business of managing Garland, largely co-erced by her (though he may not have needed much convincing as he had managed two actresses prior, which he had also been romantically involved with at the time) and never really got out of it.  He managed her pill in-take, got her to shows, is largely responsible for her Palace Theatre comeback and for her return to films in A Star Is Born, and then became more and more dependent on the income and ego boosts that derived from it, and made some very bad and some downright cruel decisions in managing her.  I'm convinced, that in many ways, he considered her his possession.  At the end of her life he had convinced her to sign away a tremendous amount of control to him, in which amounted to a contract of indentured servitude where he controlled everything.  When reviewed by a judge, he reported that he wouldn't subject a dog to that kind of treatment.  

He viewed her as his domain so much so, that when he read his daughter Lorna's memoir, he stopped speaking to her, as he felt she had stolen his story.  Her response was that if he had wanted to tell his side of the story, he had plenty of time to do it, and still could.  Well, apparently, he had tried. 

Again, according to Fricke (a very trustworthy source as the predominating expert in Garland's career and those around her) he had tried to write a memoir several times, with a number of ghost writers, and all were rejected for being somewhat incoherent.  What is about to be published is likely a cobbling together of those prior attempts.  Randy L. Schmidt is credited as co-author, and his previous book about Garland was a collection of magazine articles and essays and interviews conducted with, and written by and/or about Garland.  So, it seems like he might be a good match for the material in its current condition, and if anyone can shape it into something, he might be the one.  

But what will this book give its reader?  What I'm hoping it will do is provide us with a number of humorous anecdotes, and earthy details of her life, things that will make me feel closer to her, like a know the real person just a little bit better.  It's what I loved so much about the book Judy by Gerold Frank.  It was an intimate account of her preferences, what made her comfortable, what she liked to eat, what she aspired to be, and how she lived.  Of course, it meant wading through a lot of self serving accounts by Sid Luft, since he had authorized it.  Is this new book likely to offer anything really new?  Perhaps.  

What I'd really be interested to read would be a sympathetic, but somewhat objective account of Garland's life, including Sid Luft, now that the notoriously litigious man has passed on and people can write the truth without fear of his vengeance.   

Rare Footage of Garland, Bacall, and Sinatra at a Noel Coward Performance in Vegas

Discovered some fascinating footage of a Noel Coward performance at the Desert Inn in Vegas, thanks to The Judy Garland Experience.  This must have been around the time Sinatra was doggedly pursuing Lauren to be his next wife, and it's interesting to see them being so chummy.  Garland looks great here, as the early to mid-fifties are my favorite period for her, both vocally and looks wise.  And, bonus points if someone can tell me who the sophisticated blonde is with Coward.  I'm guessing it's his wife.  Color me obsessed.

Podcast I Love: "You Must Remember This"

I'm an avid reader of Entertainment Weekly's "Must List".  It's loaded with great recommendations for those who devour media, and it doesn't stop at music and movies, but branches out into crazy shit like...theater!!  And podcasts!!  And BOOKS!!!  Yes, they still print em.   And if you actually seek out some of the little gems, you'll feel real damn proud of yourself afterwards.  Occasionally it feels like they have some kind of weird deal with the distributors, but most of the time it feels legit. 

A couple of weeks ago, this caught my eye...

 



It was my lady, once again, in print.  It happens every once in awhile that I catch her image in a magazine (I mean, she lives on peeps.  Her legend is far fucking reaching) and two things happen. 

Thing #1.  My eyes widen and I shriek on the inside like a child at Christmas time.  I'm so excited that she's still being paid attention to in this modern age!  She is RELEVANT! 

Thing #2.  My eyes dart madly across the page, like a meth addict seeking his next fix (yes, I'm watching "Breaking Bad" now, and it's every bit as putrid and crusty as I thought it would be.  It's also compelling television) I seek out whatever trash they may have printed, so I can gird my rage against the turd who wrote it.  Is the word "tragedy" less than three words to the left or right of her name?  Do they bring up the damned pills, yet again??  "WHY CAN'T THEY LEAVE THAT POOR LADY ALONE!!!!)

In this case?  No tragedy, no slander.  Instead they point to a podcast by the name of  "You Must Remember This" which focuses on the untold or forgotten histories of some of Hollywood's greats.  If done well, this little podcast could be a gold mine, and yet, I had pretty low expectations.  I've heard a lot of media pieces on Judy and a lot of them have been salacious, or cheaply produced, and it was quite possible this could be one or the other...and yet?

I went straight to the episode focusing on Garland's later years hoping to love it and fearing I wouldn't.   Verdict?  The creator, writer and host, Karina Longworth has crafted a really thoughtful, very well written and insightful podcast with her unique perspective.  The Garland episode actually made me think about things I'd never thought before, which I certainly should have.  Possible-  Garland's hold on gay men was anathema to the male dominated straight media?  They used the connection to dismiss her and discount her hold on people?  Yeah.  Yeah they did.  Listen to the podcast, as Longworth illustrates it better than I could. 

 One of the great things about this show is that it doesn't just do a blanket bio on whatever star it's currently focusing on.  It zooms in on a particular moment, and unpacks it for the listener.  And she speaks with a very distinctive voice.  She's best when she's looking at the lives of women, as she does in the Garland, Novak, Frances Farmer, and Isabella Rossellini episodes, because you can feel her passion for the topic.

I'm personally hoping she'll do an episode on the weird pictures of Sammy Davis Jr and Jayne Mansfield at some freaky satanic ritual in the sixties.  I need that shit debunked or I'll never listen to Sammy Davis Jr with a completely untainted ear.

TJGS Episode 13: With Special Guest Peggy Lee

While the thirteenth episode was pretty routine in some ways, there are a few things that set it apart. 

First, there is Jack Carter, who is essentially taking Jerry Van Dyke's place for this show and who somehow manages to make the slightly insulting banter with Judy work.  He just throws it out there, lobs it out and is able to make Judy look Judy completely normal while he comes off as some kind of schmoozy, boozy nut.  And yet, he's still charming in this old school comedian way that no one could carry off today.  I can't quite put my finger on it, and I'm not saying I love the material, but he makes it work better than anyone I've seen so far.  He also has a number in which he complains about the youth of America, and while the material is a bit stale, again, he is so comfortable and confident in his delivery, spitting out "babes" and "honeys" left and right.  How can I not hate him?  And yet, I don't.  Of course we have The Judy Garland dancers to spread the corn around in an already corny number.  Thank God for them. 

 

Jack and Judy also share a routine in which they play different musical comedy teams throughout history, finishing with a tribute to "Mr. Wonderful" in which Jack Carter had appeared with Sammy Davis Jr.  For my money they could have done away with the rest of the routine and focused on the last material, as the earlier parts seem a bit gimmicky and forced, even if Judy does do a wonderful Ethel Merman impersonation.

 

 

Peggy Lee is the Special Guest of the episode.  Beautiful, bountiful Peggy Lee.  She's so meaty and sensual, poured into her dress, all topped with hair like cotton candy, her voice so smoky and rich.  I just love her.  And yet... part of the magic of Judy is that you don't even realize how wonderful she is until you see other people attempt the same thing.  Peggy never quite seems comfortable with the camera, and is a bit of a deer in the headlights; a gorgeous, busty deer in the headlights.

 

 

The "Trunk" spot of the show is wonderful, as Judy sings two terrific numbers.  She starts with Irving Berlin's "How About You" and sounds lovely (even if she doesn't quite give herself over to the sorrowfulness of the song) and closes with "When Your Smiling" and the finish is stellar, with Judy selling it in typical fashion.

 



TJGS Episode 12: The One Where Judy Gets Touched...A Lot

By episode 12 the edict was out.  Judy was not to touch her guests.  People who saw her being so affectionate thought it made her look nervous and didn't like Judy kissing her female guests on the cheek in greeting.  Of course, this is ridiculous, and I for one never thought that the affection Judy displayed indicated that she was nervous, but that she was attempting to calm the nerves of others.  At any rate, Judy later commented how funny it was that on the episode where she worked so hard not to touch the guest stars, they were reaching out to touch her. 

Garland had gotten very close to Zina over the week's time and was thrilled to have Vic Damone as a guest star as she was a great admirer of his talent.  He would appear on the show twice more, and each time they would perform a wonderful medley of Broadway hits.  They started of with a medley from Porgy and Bess that is really pretty wonderful.  They look so comfortable and the notes!  The notes are so passionate and full and vibrant.

The highlight of the show, to my mind, was not actually filmed in the same week.  It was taped much earlier and inserted into this week.  It's the "Tea For Two" segment with George Jessel.  Jessel had been a gigantic name in show business back in the thirties, and Judy makes sure he has the chance to have all the focus again.  She's so obviously delighted to have him with her, so gracious to him.  And for his part, he's still very quick witted and funny.  He does most of the talking, which I frankly think is nice.  I know Judy's a great story teller, and yet, these segments could have done a lot more to highlight and lift up the guest star than they do.  This is the best "Tea" segment ever (just ignore Goerge's story of how he named Judy.  Yes, he gave her the last name Garland, but Judy had named herself).  And Judy sings an amazing snippet of "Bill" that I wish she'd sung as a complete number.  Still, tossed off like this makes it seem so natural and conversational.  It packed a lot of power.

 

 

This is definitely not a notable episode, but it is pleasant, and quite funny to hear Vic Damone sing "And oh the towering feeling!" as he stands high on fork lift, which is then lowered to the ground by a little blonde pigtailed girl.  Talk about literal... 

A Brief Hiatus

Well, I fucked up.  I didn't blog last night.  And do you want to know who did it to me?  Zina.  Zina Bethune, formerly of the CBS series "Nurses".  She was one of the guest stars of episode 12, and friends...I just couldn't do it.  She was dear, very sweet, adorable even to some, I'm sure.  But she was such a wildly inappropriate guest, such an obvious ploy for ratings, and she tries SO HARD!!  You can see the nerves bubbling up out of her skin like little pimples. It would have been fine if she were on a daytime talk show, or a night time chat show, but on a variety show that you would hope requires a little experience and talent?  She doesn't cut it, and I couldn't make it through.  I tried, but then someone texted, and my modern mind wandered and before you knew it, I was asleep. 

So why not tonight?  Why couldn't I post tonight?  I hung out with a  good friend of mine, had a couple of drinks, and...

But tomorrow I will do it.  Tomorrow I will finish the episode, although, as you can already guess, it won't be a particularly fun post that results from it.  ZINA BETHUNE???
_________________________

Ok.  Cue the raging guilt. Zina Bethune has passed on.  I got curious and looked her up on-line, and found the following on Wikipedia: "On February 12, 2012, Bethune was killed in an apparent hit-and-run accident while she was trying to help an injured opossum in Griffith Park, Los Angeles. She was five days shy of her 67th birthday."

How awful.  She really is sweet on the show, and I'm sure if I'd met her in person I would have loved her.  She obviously cared for animals, even really unattractive ones. 

TJGS Episode 11: The Best One Yet

This has always been my favorite episode of the series as it has more amazing, varied, beautifully conceived numbers packed into forty-five minutes than any other episode in the series and if you only catch one installment in the series, it should be episode eleven. 

The show begins in a Wintery Wonderland, with a chorus dancing in to introduce Judy before she glides in on a sleigh, seated next to a very handsome young dancer.  It's so glamorous and festive, and Judy so vibrant and sounding wonderful. 

 

 

As for the "Be My Guest" segment, this is one of the rare episodes in which it works, with guests Steve Allen and Mel Torme (the second of his contracted appearances) singing their "school song" and Judy responding with her "school song", that school being the little red schoolhouse at MGM.  It's clever, self deprecating, and sung with such mischief.  It's a joy.

 

Judy later sings "Here's That Rainy Day" in a number which is beautifully designed.  Judy in a raincoat crooning mournfully , as people stroll by, their umbrellas glistening from the rain above.  I really feel the show could have benefited from the more immersive "set-pieces" that highlight this show rather than the bizzare obstacle courses of random furniture that sometimes deck the stage and serve as set.  To be fair, this abstract kind of set was very popular in its day, and I could just be a matter of personal preference.

 

Mel Torme's solo spot is horrible in a really delightful way.  He sees himself as some kind of brooding ladies man, and was really into motorcycles at the time of the taping so he suggested doing the number in the midst of all these high powered machines.  Pair them up with these ultra-serious, "working way to hard to be sexy" dancers, and Mel schmoozing it up ala the "Rat Pack" and you have a treat.  Truthfully the recording of the song is wonderful, and no one can fault Torme's singing (although I will say he hit a couple of clunky notes in the show that I wish they would have let him do again).  He redeems himself in a marvelous duet with Judy in which the two of them sing "The Party's Over". 

 

 

Judy and Steve Allen also perform a medley of songs from the unsuccessful musical "Sophie" based on the life of Sophie Tucker, with music and lyrics by Allen.  It was Judy's idea to showcase the songs in the hopes that one of them might become a hit in spite of the failure of the show itself.  The first number in the medley "I Love You Today" is very sweet, while the second song is a touch on the trite side, and the third...the third is a dynamite song,and one of my three favorite performances on the series., and it comes in at 4:35 in the clip. 

 

 

It's lovely to see Steve Allen just beaming as she sings his work.  His great admiration is very apparent, and the two of them are so warm and comfortable together.

 

In the tea segment, Judy sits with Jayne Meadows (Steve's wife and Judy's new best friend).  She is so sophisticated, so erudite, and at ease with Judy.  She's like a showbiz version of one of Truman Capote's swans.  Now the wig she's wearing?  That  helmet with the curly cue on the side?  That's another matter altogether. 

 

Yet another number that just takes the house down is a gorgeous interlocking puzzle of an arrangement which combines several songs as sung by Garland, Allen and Torme.  The conceit of the number is that each of them wants to sing a different song, so they sing every one of them.  Often times one sings lead while one or two of the others sing in counterpoint.  When you watch the clip, feel free to skip the unneccesary comic bit and go right to the good stuff at 3:40.

 

 

 

Finally, there's the "Trunk Spot".  The first number is a throw away that is only noticeable for how much Judy seems to be enjoying herself, but the second is a breathtaking piece, almost operatic in its breadth and tone, and Judy's voice just soars.  It's kind of distillation of all the things that make her one of the most magnetic performers who ever lived.

 

 

(Note:  the show was taped in mid-October, but must have planned as a New Years episode from the get-go- it aired on January 5th, 1964- as there are at least three mentions of the new year peppered throughout the episode.

 

 

 

   

 

 





TJGS Episode 10: Ray Bolger Talks to the Instruments (and They Don't Listen to Him)

Episode 10 is a cobbled together, cut and paste mess.  Having guest stars Jane Powell and Ray Bolger should have made for a great show, but instead it's amongst the worst of the series. 

One of the things I wish they would have dropped from the show completely the "Be My Guest" segment.  Once again, a guest star comes out and ribs Judy about some mistake she'd made in her past, and once again it doesn't play well.  Plus, there's this odd mixture of ad-libbing and scripted material that throws off the rhythms and makes everyone, especially Judy as the driver of the segment, look like they don't know quite what they are doing.  The sketch didn't quite know if it wanted to be loose and casual or tight and quickly paced.  As a result it isn't much of anything.  And the transitions!  They're so awkward, and having to make them look natural and organic is a near impossibility, which Judy doesn't achieve, and yet, who could?

Another reason I'm not so fond of the show is that Judy looks the least prepared that she has on any of the episodes show so far.  There's lots of manic energy and hand wringing galore as she looks every minute like she's about to go up on a line, and pulls through about a half a second late.  It's an obviously "unsettled" Garland on episode 10. 

There's this strange phenomena amongst Garland fans.  There's an urge to protect her that's stronger than with most.  We don't want anyone to think ill of her, and are so tired of the same old untruths about her that we, or I guess I should speak only for myself, I cringe every time I see her looking unprepared because it's just more fodder for the ignorant, who will of course jump to the conclusion that she's drunk.  Well, 95% of the time she's not.  But that 5% has a real impact on some, and the myths and legends surrounding it have an even greater impact.

Jerry Van Dyke had just been fired, and this would be his last episode on the show.  Garland was pretty upset by it (incidentally, at the same time she was campaigning to get Schlatter reinstated as Producer of the show) and in her few moments with him you can see even more affection than usual, as the two of them know this will be it.  Bill Hobin would soon leave the show as director, citing creative differences with Hunt Stromberg, Jr and Norman Jewison.  The production team was dividing up into sides, tensions were high, and it all had quite an impact on Garland, who started showing up late to rehearsals more often than not.  Garland was the type who soaked up the emotions of her environment, and the emotions now on the set were filled with tension.

Adding to the lack of cohesion is what seems like a mini-concert plunked down in the middle of the show, and appears to have been filmed weeks apart from the rest of the show due to the very different hairstyles and costuming.  After Judy sings a few numbers there's an abrupt cut and Judy returns in the same hairstyle and dress she'd been wearing before.

The numbers themselves are pretty weak.  Ray Bolger sings a medley of songs in a so-called rehearsal room full of empty chairs with instruments seated upon them, and he spends his entire number talking to these inanimate instruments, much as Clint Eastwood would later do at the Republican convention.  He sings, badly, every possible song with a woman's name in it.  The only enjoyable moments are when he dances. 

Judy sings "One For My Baby" as a throw away number in the middle of a comedic sketch, and I would have loved to hear her do it seriously.  Not just without all the interruptions, but with an approach that treated it as a dramatic monologue, something at which Garland excelled.

Judy, Ray and Jane sing "The Jitterbug", and it's difficult to watch.  Not just because it's overtly "cute", but there's something disconcerting about watching two middle aged women in teenaged bobby-soxer outfits.

 



On the upside?  It's nice to see Judy and Ray together remembering the filming of The Wizard of Oz, even with an awkward moment in which Ray mentions the first edition of Edgar Allen Poe's "The Raven" that he had given her.  He seems pretty proud of it and she seems to have completely forgotten about it. 

There is one segment that is always a joy to watch.  No matter what else happens in the show, good or bad, as the credits roll Judy dances and cavorts, claps for the audience, shakes hands with her fans, and generally makes magic as only she can. It never disappoints. 

TJGS Episode 9: Steamroller Merm Meets the Two Other "Belters"

Episode 9 is notable for many reasons:

• The arrangements are incredible.  The best of the series so far.  There's Barbra's "Down With Love", Judy's "Just In Time" which modulates all over the place (and would be even more improved when reprised in a later episode with an alternate tag ending) Judy and Barbra's marathon "Hooray For Love" Medley, and of course there is the famous duet arrangement of Garland's "Get Happy" and Streisand's "Happy Days Are Here Again".  It's been getting a lot of play lately, was performed on "Glee", and was featured in the most recent Pink Martini album Get Happy, but the first version is the best, and it was all Garland's idea. 

• The Smothers Brothers are the first comedic guests from the series that remain funny to this day.  While the other comedy acts had been pure cornball and could expect, at best to be considered mildly amusing today (I'm talking to you Dick Shawn) the Smothers Brothers are so off-beat and natural.  The sensibility of their humor is still very "current" and their act seems to fly by.

 

 

• The pairing of Garland and Streisand is history in the making.  Judy had brought family and friends to catch Barbra's act and was so taken with her that she convinced the execs to rearrange the shooting schedule to Barbra so could be a guest.  More than anything, Judy was very generous to talent, and she was exceptionally good to Streisand.  She convinced her agents to take Streisand on as a client (though they may not have needed much coaxing) and throughout the show you can see how much she gives to her when performing.  Streisand on her part is a little less giving, a little more reserved, but I don't think it's selfishness, just youth.  She was only nineteen after all, and still mastering the some of the "finesse" she would have later.  I highly recommend the chapter devoted to this episode in "Rainbow's End" as it perfectly captures the shared spirit of admiration, the perplexed attitudes of many in the old guard of showbiz who didn't get what all the hubbub was about when it came to Streisand, and hints that the Diva in Streisand, when it came to matters like what kind of tea she wanted to drink during breaks and pitching a bit of a fit when her guest spot was slightly shortened, may have been there, even at that early age.

 

• Old "Steamroller Merm", as I like to call her, makes a "surprise" appearance and completely takes over.  The moment she takes the stage she overwhelms everyone with volume and sheer gusto.  She even commands the conversation and takes every opportunity to steer the it back to her.  When the three of them sing together, Ethel's aim is obvious: steal focus.  Garland gives the whole number over to Ethel preferring to be her cheerleader than compete, and when she notices that Barbra's getting a bit bowled over as she somewhat gamely tries to sing along, she pulls Streisand into the group, making her a bigger part of it.   PS:  I suggest watching the number a few times and focusing on a different performer each time.  It's fascinating, and hilarious, as some of Barbra's slightly bemused expressions are priceless.

 

 

 

Jerry Van Dyke is on the show for one of his last episodes, still playing the part of "World's Number One Asshole".  If they'd have just let him continue with his sweet bumbler, and let him have a hand in concocting some of the material himself, he might have made a true contribution.  If only they could have dropped the bullshit about knocking Judy off her so called pedestal.  It continues in this episode and extends to the show itself in a bit in which Jerry claims the show is too expensive and so starts making budget cuts.  The audience doesn't need those little seeds of negativity planted in their head that would make them think the show is doing any less than spectacularly.

 

Incidentally the first reviews for the Garland show came out during this week would target this very aspect of the show as an awful idea, deriding the writers, with one critic threatening to punch the next person who referred to Garland as a "little old lady".   Aside from that they were overwhelmingly positive, if not for the show itself, then for Garland.  She'd always been the critic's darling and this was no exception. Good on you, critics. 





TJGS Episode 8: Judy Garland, A Baseball Coach, A TV Actor and a Pack of Hillbillys

This is the strangest assortment of guests yet, and all ordered by Hunt Stromberg, Jr.  as an attempt to appeal to a wide array of folks.  Judy Garland chatting with Leo Duroscher, coach of the LA Dodgers?  She knows nothing about baseball, freely admits it, and while she's very sweet and convivial, it makes for a bewildering three or four minutes.  And then there's the idea of matching her up with The Dillards, a downhome bluegrass band that had been featured on The Andy Griffith Show.  Round it out with George Maharis of "Route 66" and you have one of the very reasons I said earlier that these Jewison produced shows seem more "daytime".  The guests assembled are of the caliber you might easily find on a chatty daytime talk show, all clumped together with little thought to chemistry or cohesiveness.

One thing the show does have going for it?  Judy's vocals are back in top shape, she sounds and looks at ease, and thank the Lord the guests stopped insulting Judy through song.  The show itself is a very polished production, very streamlined and with little of the stumbles and stammers that marred earlier episodes.  The material is not great, the writing's pretty flat, but it's executed well by the performers.  The cast may be selling shit, but they sell it with panache!

The highlights of this program?  Judy and George Maharis sing a lovely arrangement  of "Side By Side" with beautiful harmonies, and they seem to love being with each other. 

 

 

Highlight number two is this near perfect rendition of "I Wish You Love".  So lush and poignant.

 



TJGS Episode 7: The Premiere!!! (Take Two)

This episode was selected by the executives at CBS as the premiere episode.  I suppose, having fired Schlatter they couldn't allow one of his episodes to start the series off, because if people liked it and deemed it better than some of the latter episodes then the CBS Execs would have to eat a lot of crow.

This episode was due to start with the overture taken from the Mickey Rooney episode, but instead started with our favorite dancers singing a take-off on "Call Her Irresponsible", which is supposed to culminate in Judy's entrance...and she is no where to be seen.  She eventually appears and goes into an introductory number.  Now, Judy had somewhat impishly performed this song to CBS Executives and affiliates for a gathering and it had been a hit.  Yet, there's a big difference between a person making fun of themselves, and others making fun of them.  It set a bad tone to start the show that way.  And Jerry is again forced to speak some insulting dialogue to Judy which does make people feel confident that she will be able to carry this venture off.  It's a very peculiar way to sell a performer.  Stupid CBS listening to poll takers and changing the show up before the first episodes had even aired.  Have some confidence in your product, ass wipes.





Garland sings "Fly Me To The Moon" in this gorgeous wooded set with beautiful flowered trees.  It's a gorgeous set-up and yet her pipes aren't quite back up to full capacity.  It's another peculiar move on CBS' part to open the series with an episode in which Garland's vocal quality is not up to peak. It doesn't make sense.

Mostly, my complaints with this episode are repeats from last weeks episode.  The material they're highlighting in the duets is subpar, the special material is forgettable, the whole show is just unremarkable, and there are a couple of false starts and flubbed lines (one by Garland and couple by O'Connor) that should have been a good enough reason to do another take.  I just don't get it.

Highlights?  Judy has a laugh out loud moment in which she and O'Connor are spoofing Jeanette MacDonald and Nelson Eddy and she takes a moment to play and jokingly flirt with the camera.

And, in spite of the fact that I don't really love clowns (I'm not one of those people afraid of them, I just don't care for them) the second highlight is a simply charming number that Jerry and Judy and Donald join in together. 



TJGS Episode 6: That Ain't No Way to Treat A Lady

This show is rough.  It's the first episode that had my mind wandering and musing on running the dish washer, what to pick up at the grocery store, work the next morning, anything except for the messy business on-camera.  The trouble on-camera was at least partially influenced by the mess that things quickly degenerated into off-camera. 

As mentioned before, due to some negative feedback from average Americans participating in a screening, Hunt Stromberg came to the set and made quite a few suggestions, claiming that he knew what needed to be done to fix the show.  Judy, until this point had not thought that the show was in need of fixing and both she and Schlatter were pretty shaken by his comments.  I'm shocked that Stromberg didn't know better than to be so artless in his discussions because the whole show rested on her talents and presence and it was pretty well understood that an unhappy Judy could make some unproductive decisions.

More talks would follow, and while Schlatter heard and understood the changes the  execs wanted him to make, he disagreed, and refused to change.  He felt that he knew what Judy needed, and wouldn't relent.  As a result, the executives showed him, and a large portion of his team, the door.

It's been claimed that Garland didn't know what was coming, wasn't aware of the firings, and I suppose it's possible, but I have a hard time believing it.  If anyone would be told, it would be the star of the show. Right?   And, while most people were fired, one of those most important to Judy was saved; Mel Torme.  He helped her select music, conducted for her, kept her secure in her musical performances and to me (and this is purely conjecture) it seems like a concession from the studio brass to allow Garland to have a kind of security blanket to hold on to in the midst of the upheaval.  



Norman Jewison was brought in as Executive Producer, and this episode is his first in that capacity.  And it doesn't bode well.  While the first five episodes seemed lush, glamorous, this is awash in light.   The costumes are unflattering, the hairstyling is off (I'm talkin' bout you June Allyson)...



  Maybe everyone was just thrown off their game because of the behind the scenes drama which was impacting a relatively happy show prior to the changes, but some of the decisions were very much on purpose.

1.   I can't quite put my finger on it, but this episode seems much more "daytime" than all the episodes prior.  Much less sophisticated.

2.   Jerry stops being a bumbler who looks up to and is encouraged by Garland, and is instantly transformed into an egotistical tv expert who drills Garland, criticizes her every move and essentially tells her she's doing everything wrong, and making her appear as a novice on her own show.  She is forced to react to all the things Jerry is throwing at her, so she looks uncomfortable through most of these scenes.  It was SO much better to see Judy looking fresh and at home, to see how much her guests seemed happy to be there.  Those episodes raised her up and exhibited her at her warmest, and most at ease.  They made the studio seem like a fun place to be.  These episodes knock her off her "pedestal" by making her look a little unready, inexperienced in television, and a bit baffled.  And is that really the sort of person you want to "get to know"?  Nope. 

3.  The focus is much less on music, and thrown to these awkward, poorly scripted comedic bits. 
Steve Lawrence, who sings and looks like a dream (he really understood how to work the camera during a vocal performance) does a terrible bit in which he sings these horribly unfunny and insulting things to Garland.  He doesn't get to be a version of his own sweet self, but he's forced to be this awkward Brando-esque asshole.  ALL the patter is moronic and boring.

4.  There's a lot more "special material", and none of it is particularly good.  I'd much rather have seen Steve and Judy sing some grade-A material than what they are left with.  Opportunity wasted.

All in all, the show just seems messy, and it's not helped by June Allyson.  It seems as if she's just a wee bit too "loose".  She's tickled by everything, can't stop cracking up, and doesn't seem to take the work seriously, and witnesses say she'd been drinking a bit to overcome her earlier nerves.  Too be fair, she had been devastated by the somewhat recent death of her husband Dick Powell and had not worked in some time.  It was Garland's cajoling and coaxing that brought her out to face the world again, so these are her first brave, if somewhat shaky efforts to do so.  June had done some wonderful work prior, and has proved herself a generous and gentle soul since, so one can forgive this misstep.


As for the set?  This is the episode where every set piece is extremely literal.  It's a trend that would unfortunately continue.  Steve Lawrence is going to sing "Time After Time"?  Ok, we'll stick him in the middle of a crowd of cut-outs of clocks.  Get it??  Judy is going to sing "Happiness is Just a Thing Called Joe" from Cabin in the Sky?  Well, she'll need to do it on the front porch of a cabin, of course.  And June Allyson is singing "The Doodlin' Song"?  Well, she'll need to be surrounded by The Judy Garland Dancers" as they doodle on giant rolls of paper.  Silly.  And I for one have never been fond of the way these sets seem plopped in the middle of a limbo world with no walls.   

The finale of the show, a tribute to MGM film musicals the biggest disappointment of all.  The set continues the trend of "literal" interp by dropping Steve, June and Judy amongst giant film reels.  The performances on said set are under rehearsed, and shoddy.  Both Judy and June look a little wobbly, and there is so much line flubbing, and obvious glancing at cue cards...ugh.   

Final note- while Garland has sounded brilliant in all prior episodes, during this one she's having apparent vocal troubles and mentions having struggled with laryngitis during the week.  So if you think you're hearing a rougher, raspier Garland, you are. 

TJGS Episode 5: The Sexiest Episode Yet

Watching the Pioneer DVDs as I have been is an interesting experience as they differ ever so slightly from the aired version of the show.  For example, the cameras linger on studio audience for what seems like an eternity during the fade-out to commercial, possibly to give the editors some space when they are fading out for the commercial that's been removed.  At any rate, it allows us to see some very amusing behavior, like in the episode with Mickey in which one woman on house right is absolutely tickled pink to see herself on the monitor.  She just can't help herself, she points, she giggles, she titters about it to the person next to her...awesome. 

They say you can also spot the celebrities in the audience as you watch, but so far that hasn't been the case.  In the premier episode Natalie Wood, Lucille Ball and the cast of The Dick Van Dyke Show were in the audience, but I couldn't find them, at all.

Also, the DVDs will occasionally show numbers edited into the show that were cut from the aired version. 

In this episode the number that was edited into the DVD version, even though it was cut for the aired episode, is "If Love Were All", and I can see why it was cut.  It's a beautiful song, and one of Garland's stand by numbers, but it's not really suited to start a show.  Dramatically it fits much better in the latter portion of a performance as sung by someone who's already been "through the mill".  To see Garland come out looking dazzling, all glammed up and up beat singing this whistful, somewhat self pitying song...well it's weird.  And it was cut.  Also weird?  Those damned Judy Garland singers.  They never fail to provide a creepy, incongruous moment.  They succeed again in the number "Yes, Indeed" in which Judy introduces her guests for the evening.  Usually I have not troubles keeping my eyes on Judy, but the dancers are so...wacky, that they demand your attention.  Watch and see:

Right?  What is up with those cones leaking those incredibly fake looking extensions?  And the boys...come on kids.  Who's fucking idea were they.  Get them outta there. 

One thing that surprised me, was that even though Dick Shawn is a NIGHTMARE, so unappealing and off-putting with his "sexual" energy that supposedly gets the girls wild, Jerry Van Dyke is just sweet and adorable as can be.  His energy is great and he's hilarious in the duet with Shawn.  And I can't help but feel that if he'd kept that up, with Judy performing as an encouraging influence to bolster his sagging confidence, it might have actually worked.

Tony Bennett.  What is it about Tony Bennett.  He's all chin and nose, with lashes that Tony Curtis would have been proud of, and he's just as hot as can be.  He's committed, emotional, and his confidence comes from within.  Good Lord.  It makes my heart flutter just to watch him.  And his chemistry with Judy?  They can't keep their hands off each other.  It's weird to know that they just met for the episode because they seem like old flames that have been able to transition into a very comfortable friendship.  This clip provides the evidence when Judy joins the song about 2 minutes in.

In the "trunk" segment Judy tells another anecdote at the behest of Hunt Stromberg, Jr.  and sings a lovely rendition of "Stormy Weather" and as the credits roll she walks into the audience and joyously greets Steve Allen and his wife Jayne Meadows.  It's a great moment. 

TJGS Episode 4: Mad Guest Stars and Englishman



This is the episode where Judy talks, Lena growls, Jerry vamooses, and Terry Thomas is an all around British charmer.  This is also the episode in which the CBS brass, in the form of Programming Executive Hunt Stromberg, Jr, got hands on.  The Garland show was looking like it might stick around, Garland hadn't imploded under the stressful schedule as some predicted she would, and so concern began to rise and they turned, as execs often do, to the average citizen of America through the focus groups I'd mentioned earlier.  They were Garland's appeal, and the fact that she didn't quite fit the CBS mold.  They were worried she that America didn't find her approachable, that she was too affectionate with the guests, and so they made some "suggestions" and encouraged Garland to talk and tell stories so the audience could get to know her.  They added a segment called "Tea For Two" in which Judy would chat casually with one of her guest stars, and swapped out a song for an anecdote about how she lost the Academy Award in the upcoming episode's "trunk" spot.  All of this input put a lot of folks on edge, especially Judy and her producer.  They'd been left relatively alone for awhile, and this new input could not be good news.

"Rainbow's End" implies that Schlatter directed Judy to make an exit from the set for awhile, as he also was largely absent, and unfortunately Lena Horne, the guest that week, was put off by it.  Now, Judy was never really fond of rehearsing and thought too much rehearsing for this show would rob it of freshness and spontaneity, and in the past she hadn't needed it.  She was the "one take wonder" who could pick up a dance step by seeing it once, could look at a piece of sheet music onte time and have it down pat, which even Mel Torme conceded to having seen in action.  So even now, when she could use the rehearsal as her dancing chops had somewhat rusted, she didn't have the discipline in her muscle memory, and the set was hardly the pleasant place to be that it had once been, and Garland had always soaked in her environment like a sponge.  So there were probably a few factors that led to her absence from rehearsals this week.  Regardless, Lena was not pleased, and it shows.   

Now, I, for one am leery of those who think they can read what's going on behind the scenes by body language, etc.  because in a very real way the "insights" of the lightly informed often say more about the audience member than the subject.  For example, people are always making sweeping statements about Garland when they watch her perform.  "Oh she looks nervous", "you can tell she's really sad", "She looks drunk" and I have always been a very strong believer that


1. You see what you think you will see.  You've heard that Garland drank, and are looking for are seeking evidence to prove your juicy beliefs.  Trust me, you will find them even if they aren't there.  As a pretty rabid fan I've seen and heard lots of footage, including occasional footage in which Garland is "overmedicated", and it's quite apparent when that's the case.  Trust me, give your discerning eye a rest and enjoy what actually is up there.

  2.  Judy was an actress, and when she performed a song, she felt and radiated the emotions of the song and character she was playing.  It's part of what makes her so special.  It ain't American Idol where someone smiles, sells it, and performs vocal yoga ad nauseum,  even if it's a ballad of loss.  It's called acting.

If you still think you are so perceptive, let's try an experiment, if you are game.  Watch Lena Horne on the show.  What do you think?  She sways a bit, she leers, wobbles, twitches and growls through the show, she flubs a line...she's a prime candidate to be one "drunkin punkin"!  She looks drunk!   And yet, she ain't drunk. 

What I will posit however, based on my understanding of the show's dynamics that week, and the body language, that she seemed a bit...tense compared to her usual self.  She hardly looks at Judy while performing with her.  She's closed off, determined, like a locomotive chugging down the track.  She's on her own.  And what camaraderie there is, at least from her side, seems forced.  A good example of this is the hyper-manic cackling and shaking, kicking and head tossing at the end of the "Judy Sings Lena/Lena Sings Judy" number.  We get it, ladies.  You are having one fucking amazing time. On the upside?  Tense set or not, Lena and Judy both put out some great performances.  If you are not familiar with Lena Horne, give her a listen.  Lady had some pipes...

 

As for the rest of the show, it's certainly above par, and as a guest star Terry Thomas is just charming.  He's extremely agreeable, polite, warm, and ever so British.  Judy is once again looking gorgeous in this show, and she sings a really intimate rendition of "A Foggy Day in London Town" that is pretty fascinating.  I've always loved watching her sing to an individual because the intimacy does something to the words, make them so...immediate.

 









One thing you won't see on this episode is Jerry Van Dyke.  Though filmed fourth, the episode aired 10th, after it had been announced that Van Dyke was leaving the show, so his work, which is pretty enjoyable in this episode, I have to say, can only be found in the outtakes.

Final Note:  I wish I could go back in time to 1963 and burn those weird trench coat gowns Judy and Lena are wearing in the opening number before they get a chance to put them on.  They look like wrapped up sateen mummys.  No Ma'am, Pam.