Word: wnta
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Good Eyes. During commercial breaks, the Open End station (New York area's WNTA-TV) ran advertisements for Radio Free Europe, showing barbed wire, a symbolically gagged resident of a satellite country, etc. When a Soviet aide passed a note into the studio telling Khrushchev what was going on, he waited until the next station break, then raged about "trickery"; suddenly, he broke into a smile and said, "Do what you like, enjoy yourselves, we will win, we will win." Susskind later apologized, said he knew nothing of the commercials...
Susskind has had a hand in close to 100 shows-not all good by any means, but at least suggesting effort-including New Jersey-WNTA's excellent Play of the Week and the weekly Susskind symposium. Open End. He also produced miscellaneous specials (notably NBC's Moon and Sixpence with Laurence Olivier), the CBS Du Pont Show of the Month, and helped turn out a series of NBC dramatic programs that established Art Carney, once known only as Jackie Gleason's second banana, as the season's outstanding TV actor. The Susskind influence had its drawbacks...
...famed TV shows, Ford's coast-to-coast Star time and WNTA's New York-area Play of the Week, found their material last week in old Broadway melodramas about psychopathic killers (scarf-strangling variety). On a $38,000 budget Play of the Week presented a chilling, full-length production (two hours) of Alexander' Knox's The Closing Door, excellently played by Dane Clark and Kim Hunter. With some $200,000, NBC's Startime presented Audie Murphy in an hour-long condensation of Mel Dinelli's The Man, worked up little interest...
...Sartre piece (seen on Broadway ten years ago as Red Gloves) was the latest Play of the Week, eighth in an admirable series on New Jersey's WNTA-TV. The series presents a different taped play every week (six evenings, plus Sunday afternoons), usually relying on past Broadway productions and topnotch Broadway casts...
...Sartre's Communist theme would have chilled most network programmers, WNTA's earlier choices would have set their teeth to chattering. So far, The Play of the Week has dealt with such themes as drunkenness and sexuality in a priest (Graham Greene's The Power and the Glory), sterility and infidelity (John Steinbeck's Burning Bright), infanticide (Medea, with Judith Anderson), and clerical tyranny (Paul Vincent Carroll's The White Steed). Says Producer David Susskind: "We have none of those pernicious and aggravating conditions and taboos that you get everywhere else on TV." Most memorable...