Word: gagmen
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...costs to ballyhoo Jell-O is something General Foods keeps under its hat. But no secret is the staggering gross that Benny will rake in this year for 35 half-hour appearances before an NBC mike. The take: $630,000, out of which Benny pays for an orchestra, announcer, gagmen and his cast, leaving a gratifying net before taxes of some...
Awesome to fellow zanies is Allen's ability to concoct his own jokes. Most of them depend on gagmen for their wit. Allen writes much of his show himself, decisively edits the contributions of his two assistant scripteurs. Practically unchanged this season will be the formula that carried his program along on NBC. In his dry, unhappy, singsong drawl, Allen will still handle 60% of the dialogue, manage, between musical pauses, to give his own news of the week, interview unexpected guests, preside over the dramatic doings of the Mighty Allen Art Players. For his famed ad libs...
...minute weekly broadcasts of Burns & Allen, Comedian Gracie Allen gives her radio listeners many a rib-tickling account of her mythical family. Since these relatives, invented for her by the Burns & Allen gagmen, are either nitwits, convicts or a blend of the two, they are frequently identified by their places of residence-Alcatraz for father, such other Federal and State penitentiaries as San Quentin, Joliet, Sing Sing, Leavenworth for brothers, uncles, cousins...
...Disney Silly Symphonies are the product of a big corporation employing 75 animators, 150 copyists and a gang of gagmen, musicians and technicians. They are first drawn on large celluloid sheets, superimposed and then photographed one by one. Len Lye, however, paints or stencils his designs by hand, slowly and methodically, on the thin ribbon of film stock itself. Some of the names Len Lye gave to musical effects: "a splurged woomph" (drum beat), "a zing-a-zing-a-zing-a-zing" (violin), "flutter" (clarinet...
...Ghost of Yankee Doodle (by Sidney Howard; produced by Theatre Guild. Inc.). Though more and more social problem plays invade the Manhattan stage, few are good, none great, for good plays are written by gagmen, poets, wits, fakers but not by ax-grinders. Audiences still like Shaw and Ibsen, not for their lectures on social reform, but for their conceits, paradoxes, taut drama. Last week, in a muddled play that brought a famed U. S. actress out of retirement, this perennial fact was underscored again...