#Edgar Penton

[papermoonloveslucy]

EQUAL PARTS TALENT & HARD WORK

December 26, 1965

Below is a verbatim reprint an article by Edgar Penton based on his interview with Lucille Ball. Bolded and italicized text indicates quotes from Ball.  The publication may vary by newspaper.  The above illustration was by Robert Thompson. 

During a recent discussion between a television producer and a network program executive on the problem of casting a top role for a big television variety special, the latter remarked, "If we could just get somebody like Lucille Ball we'd be in clover." 

The producer mulled that statement over for all of one second and said, "There is only one Lucille Ball, and if you can't get Lucy there's no such thing as somebody like her." 

That statement comes pretty close to a capsule explanation of Miss Ball's unparalleled success as a star in all phases of the entertainment business. 

Of course, Lucy's career can't be embraced with a single anecdote, but it serves to underscore the fact that there really IS only one Lucille Ball. 

From that landmark evening, Oct. 15, 1951, when CBS launched a new comedy series called "I Love Lucy," to the present, Lucille Ball has never left the hearts and screens of the nation's television viewers. 

The vivacious and irrepressible comedienne enjoys the distinction of being the only star to score twice in a hit television series her latest, of course, the current “The Lucy Show” still on CBS, Monday evenings. 

To evaluate the success of a Lucille Ball, however, a person must go beyond the popularity of a television show. Let's take a look at Lucy, herself, and then perhaps we can understand something about the talent that creates so many memorable moments of entertainment. 

Lucy (hardly anyone calls her Lucille, except her mother) candidly attributes her success to hard work. As a matter of fact, that's the advice she gives to all newcomers who ask her how to make the grade -in show business. 

"I know it sounds rather easy and simple to tell an eager youngster to get out and work hard," Lucy explains, "and they get a lot of advice like that from parents. But show business is no different than any other business.” 

"If you want to reach the top, you've got to start somewhere near the bottom. Learn to be a good listener and remember what you learn.” 

"Of course, luck sometimes plays a part in everyone's career, but you can't rely on it. Even if fortune did place you in an advantageous position would you be prepared to deliver? I like busy people who know their capabilities and utilize them at the proper time.”

"It may only be part of the overall goal, but there's nothing wrong in having a series of goals, and realizing one at a time.”

"It's great for the confidence, and will win you respect and recognition at a time when you least expect it." 

Miss Ball says she considers it necessary for an aspiring performer to be able to communicate with others, exchange ideas and philosophies, develop a sense of values, and not to expect what you don't deserve.

"When I was a youngster my family taught me that you get out of life what you put into it," Lucy says. 

"By the time a lot of people learn the soundness of that philosophy, they find it's too late to retreat to a sensible position, and spend much of their lives trying to overcome ill - conceived notions about what life owes them.” 

"Faith in yourself and your ambitions doesn't necessarily mean you have to put aside all the graces in your race for success. Yet I say you can afford to be a little selfish as you progress.”

"But I don't mean 'selfish' in a negative sense. For example, be selfish about your time. Don't waste it. Don’t let a party or a good time dilute your effectiveness on the job. Don't try to do too many things to the point of not being able to do a few things well." 

Lucy says that during her early years she felt a great insecurity about her own ambitions. She thought her personality was flat, that she had no poise; after losing half-a-dozen jobs . she was just about ready to give up show business. 

"I felt down, but not quite out," Lucy recalls. "Even when a New York drama coach told me but kindly ; that I was not cut out for the entertainment world, something within me wouldn't quit. I took other jobs, in, around and near the theater.”

"I finally got a job as a model. I wasn't acting or performing in a true sense, but I gained confidence and I haven't stopped working since." 

Few would argue the point that Lucy is one of the hardest working gals in show business, but it should also be recalled that the spirited redhead from Jamestown, N.Y. brought a little item into the entertainment marketplace called talent. 

Over the years she has managed to shape her endowments into what today is regarded as one of the great comedic talents of our time.

Her ability to grasp a situation or scene and transform it into riotous fun is one of the many reasons why her appearance is sheer joy to watch. And she has also developed a remarkable ability to do startling, realistic impressions of other personalities. 

Tribute to Lucy's rare and wonderful versatility as a comedienne comes from every writer who has had the opportunity to pen a scene or create a characterization for any of Miss Ball's adventures before the cameras. 

Her long-time writers on “I Love Lucy,” Bob Carroll Jr., and Madelyn Martin, Bob Schiller and Bob Weiskopf, who came back to launch Lucy's return to television on “The Lucy Show,” admit they create some almost impossible situations for Lucy. 

But they have never been able to stump the adept Miss Ball, who didn't mind one bit swinging from a chandelier, going up with a balloon or flying like Peter Pan.

Milt Josefsberg, principal writer on the current Lucy Show, says that he no longer has misgivings about whether Lucy is capable of meeting demands of certain scripts. 

"Since I've been on the show, Lucy has wrestled a bear, played with a porpoise and single-handedly wrecked an entire motion picture set. Yet when she is earthbound, she's peerless when it comes to timing and delivery.” 

Today, Miss Ball is the president of Desilu Productions, largest television film producing facility in the world. She is the mother of two talented youngsters (Lucie, 14, and Desi Jr., 12, children of her marriage to Desi Arnaz), and the wife of comedian Gary Morton (they just celebrated their fourth anniversary). 

She just completed a season of radio on CBS (”Let's Talk to Lucy”), took time out to star in two one-hour television specials, completed a year as national chairman of the Easter Seal Campaign, and is talking about plans for next year.

Like Lucy said, it takes hard work. 

Although the text of the article was basically the same in all newspapers (sometimes edited for length), syndicated columns would often feature different headlines, photos and other enhancements.  This is the headline and photo collage of the same Edgar Penton article in another newspaper. 

On the same date, Chicago television editor Larry Walters retired after 36 years and counted Lucille Ball as one of his most memorable performers. 

On December 26, 1965, the Miami News reported that Vivian Vance was returning to the Coconut Grove Playhouse to perform in the Neil Simon play Barefoot in the Park. In August 1965, co-star Darryl Hickman and Vance had appeared on the TV game show “Call My Bluff” together. 

The day after these articles hit newspapers, a new episode of “The Lucy Show” premiered titled “Lucy Discovers Wayne Newton” (TLS S4;E14).   

#Lucille Ball #The Lucy Show #Lucy #1965 #Edgar Penton #Green Bay Press-Gazette #Wayne Newton #Vivian Vance #Barefoot in the Park #Darryl Hickman