The 9th Emmys Evaluated (1957)

CAESAR’S HOUR stars Sid Caesar, Nanette Fabray, Pat Carroll, and Carl Reiner at the 9th Emmy Awards

Welcome to “Emmys Evaluated,” a series that looks at the nominations and wins in the television industry’s foremost awards ceremony and performs some revisionist history to retroactively pick the winners from the categories and nominees the The Television Academy selected.

A significant change for the categorization of the 9th Emmy Awards meant that a fewer spread of shows ended up nominated. Instead of recognizing the best shows of 1956 by genre, as it had done for previous years, The Television Academy instead distinguished nominees by length: half hour or less and one hour or more. Therefore, comedies and dramas got thrown into direct competition, and while news and documentary programs were recognized separately, the absence of the quintessential game shows is notable.

In spite of this shift, the general shape of the Emmys had been defined by this ceremony, hosted by Desi Arnaz on March 16, 1957. Supporting acting categories, direction recognition, and writing honors were fully on display in what are now considered the “major categories.” By this time, the Emmys had also begun to recognize more technical achievements, as in the world of art direction or editing. But in following the template set by the surviving recording of the 7th Emmy Awards, and the template set by modern awards shows, I’ve written about the 19 main categories.

From those categories, new series PLAYHOUSE 90 entered the ceremony with the most nominations at 11. It left with the most awards too, although it shared that distinction with CAESAR’S HOUR; both won five times. Of note, though, is that four of CAESAR’S HOUR’s wins were in the acting categories, a sweep that was not replicated until ANGELS IN AMERICA and SCHITT’S CREEK did the same in 2004 and 2020, respectively.

Back in 1956, though, the most notable snub was DISNEYLAND, which had received a lot of attention in the previous two Emmys ceremonies. And while shows like I LOVE LUCY and THE GEORGE BURNS AND GRACIE ALLEN SHOW were picking up some nominations here and there, their and others’ ubiquity at the Emmys was coming to an end, reflecting a changing television landscape. Or perhaps it reflects the strange nature of the Emmys: is it meant to just reaffirm, year after year, the same quality programs? Do shows just continue to trade on their legacy rather than staying at the top of their game? I have to imagine there is some fatigue in Emmys voters, as they see the same programs over and over.

Now, though, I’ll mark with an * the actual winner, bold my pick at the top of the list, and rank in order of my enjoyment from there. I’ve denoted shows or episodes that I couldn’t really track down online (specifically for the year for which they were eligible for this ceremony) with a ~.

Best Series, Half Hour or Less

• ALFRED HITCHCOCK PRESENTS
• THE PHIL SILVERS SHOW*
• THE JACK BENNY PROGRAM
• FATHER KNOWS BEST
• PERSON TO PERSON

ALFRED HITCHCOCK PRESENTS was the best anthology drama on the air until THE TWILIGHT ZONE (1959–1964). THE PHIL SILVERS SHOW, a sitcom I certainly overlooked, has grown on me because of the tremendous comic delivery of its titular star. But I must admit, it’s kind of strange to compare them, used to the genre distinction as I am in the TV space. Ultimately, though, the lasting impact of the show that bears the name of one of the greatest directors of all time is much greater, with many episodes still able to thrill today. THE JACK BENNY PROGRAM, in being much more comparable to reality’s winner THE PHIL SILVERS SHOW, only doesn’t stack up because of a bit of inconsistency; as much I think Jack Benny is a more iconic and important comedy figure, at this point in time, Phil Silvers felt fresh. I am not a big fan of FATHER KNOWS BEST, a mellow family sitcom typical of the era, and while PERSON TO PERSON’s celebrity guests are in and of themselves interesting, the low-impact nature of their conversations with Edward R. Murrow put it below the scripted offerings in this category.

Best Series, One Hour or More

• CAESAR’S HOUR*
• THE ED SULLIVAN SHOW
• OMNIBUS
• CLIMAX!
• THE PERRY COMO SHOW

This category really demonstrates the eclectic results of the shift in categorization for this year of the Emmys. With CAESAR’S HOUR, we have a variety show, sure, but one focused on long-form comedy sketches, to great effect, I should add. As ever, Sid Caesar, his cast, and his writing crew were among TV comedy’s greatest practitioners. It’s a more consistently fun show than THE ED SULLIVAN SHOW, a variety show with numerous acts of all kinds. However, a little guy named Elvis Presley made a number of appearances on the show in 1956, elevating its presence here considerably. Watching these 65-year-old clips, you can see why Elvis became a sensation. While he was shaking his hips on THE ED SULLIVAN SHOW, OMNIBUS was attempting to present the arts in a refined way. It was able to do so, and an Eartha Kitt appearance in which she sings traditional folk songs from across the world is a definite highlight. CLIMAX!, a thriller anthology show, isn’t incredible, but its array of teleplays are more interesting than the fleeting impact of the musical variety program THE PERRY COMO SHOW.

Best Coverage of a Newsworthy Event

• YEARS OF CRISIS*~
• ANDREA DORIA SINKING~
• ANDREA DORIA SURVIVORS ARRIVE IN NEW YORK~
• NATIONAL POLITICAL CONVENTIONS (ABC)~
• NATIONAL POLITICAL CONVENTIONS (NBC)~

I’ll take a “free win” on this one. It’s been quite a few Emmys where I haven’t been able to track down a single nominee in one category.

Best Public Service Series

• MEET THE PRESS
• NBC OPERA THEATRE
• SEE IT NOW*~
• WIDE WIDE WORLD~
• YOU ARE THERE~

MEET THE PRESS, which is essentially formatted the same way it is today, is interesting through a historical lens, but it isn’t exactly stellar television. An interview with then-Senator John F. Kennedy shows some of his presidential ambitions, but otherwise, it stands just a little bit above NBC OPERA THEATRE; I appreciate opera is a noble art form, but it’s beyond me.

Best New Program Series

• PLAYHOUSE 90*
• THE ERNIE KOVACS SHOW
• THE STEVE ALLEN SUNDAY SHOW
• AIR POWER
• THE DINAH SHORE CHEVY SHOW

I’ll suppose I’ll really get to it with the next category, but PLAYHOUSE 90 had an incredible debut because of a particular episode. It was also impressive that it staged 90-minute teleplays, hence the “90” in its name. The emotional appeal of its signature 1956 episode, “Requiem for a Heavyweight,” is definitely stronger than THE ERNIE KOVACS SHOW, although its star’s eccentric humor is certainly striking, especially among his contemporaries’. THE STEVE ALLEN SUNDAY SHOW was a continuation of his TONIGHT gig, and the sketches and musical numbers are entertaining enough. With AIR POWER, CBS took a similar approach to NBC’s VICTORY AT SEA, but it feels like a little less polished of a history documentary series. Finally, THE DINAH SHORE CHEVY SHOW fits into the musical series of the day; that is, it’s marginally entertaining to me today, but not a highlight of the era.

Best Single Program of the Year

• “Requiem for a Heavyweight” — PLAYHOUSE 90*
• “A Night to Remember” — KRAFT TELEVISION THEATRE
• “Leonard Bernstein” — OMNIBUS~
• “Secret Life of Danny Kaye” — SEE IT NOW~
• THE VICTOR BORGE SHOW~

Agreeing with The Television Academy here was easy, and not just because three of the nominees are missing. I should note, real quick, that KRAFT TELEVISION THEATRE’s Titanic drama, which is full of extras and impressive live camerawork, is OK. But “A Night to Remember” is, ironically, so forgettable next to “Requiem for a Heavyweight.” Standing next to the likes of “Marty” as the gold standard of The Golden Age of Television, Rod Serling’s script is realized beautifully by director Ralph Nelson and his cast. It’s more moving and mature than most anything else on TV at the time, in an almost inexplicable way. There’s something that every performer lends to the teleplay that makes it a real, gripping, humanitarian tale. Serling would become the greatest television writer of his time, and “Requiem for a Heavyweight” carries the emotional import he would bring to THE TWILIGHT ZONE’s fantasies and nightmares.

Best Continuing Performance by a Comedian in a Series

• Sid Caesar — CAESAR’S HOUR*
• Phil Silvers — THE PHIL SILVERS SHOW
• Jack Benny — THE JACK BENNY PROGRAM
• Ernie Kovacs — THE ERNIE KOVACS SHOW
• Robert Cummings — THE BOB CUMMINGS SHOW

While series weren’t distinguished by genre, The Television Academy felt the distinction still had to be made for acting, for the most part. In this case, we have a whole suite of comedians or comic actors with their own name in the title of their show, and as usual, Sid Caesar is the standout performer. He was able to take on different comic personas and characters with apparent ease, and yeah, they were funny! Caesar’s skill is just a step ahead of Phil Silvers’ consistent hustler character, whose mannerisms and delivery are quite a treat. Jack Benny plays an elevated version of himself on his own show, and since I love Jack Benny, that works out really well. I can’t say that the performance is quite as impressive as Caesar’s and Silvers’, though. However, it’s more consistently entertaining than the admittedly and relatively avant-garde comedy of Ernie Kovacs, which at times doesn’t always hit. Meanwhile, I really think THE BOB CUMMINGS SHOW is just so middling, and while Robert Cummings isn’t a bad actor, there’s not much on the show that holds my attention, his performance included.

Best Continuing Performance by a Comedienne in a Series

• Lucille Ball — I LOVE LUCY
• Gracie Allen — THE GEORGE BURNS AND GRACIE ALLEN SHOW
• Nanette Fabray — CAESAR’S HOUR*
• Edie Adams — THE ERNIE KOVACS SHOW
• Ann Sothern — PRIVATE SECRETARY~

While I LOVE LUCY wasn’t nominated as a series overall, three of its main cast were nominated for their acting. And as usual, if Lucille Ball is nominated, she’s going to beat her contemporaries. Even as the show was winding down, Ball’s eccentric, now classic performance still delights. However, Gracie Allen, in her ditzy caricature, is also quite funny and, I should mention, immensely likable. They are more obvious choices than even Nanette Fabray, Sid Caesar’s female counterpart after the departure of Imogene Coca in the transition from YOUR SHOW OF SHOWS to CAESAR’S HOUR. Fabray is funny, and a great support, but she doesn’t fit into the sketches in quite the same way. Edie Adams is a fine performer over on THE ERNIE KOVACS SHOW, but she isn’t quite as prominent as even Fabray.

Best Continuing Performance by an Actor in a Dramatic Series

• David Niven — FOUR STAR PLAYHOUSE
• Charles Boyer — FOUR STAR PLAYHOUSE
• James Arness — GUNSMOKE
• Robert Young — FATHER KNOWS BEST*
• Hugh O’Brian — THE LIFE AND LEGEND OF WYATT EARP

David Niven, Charles Boyer, Dick Powell, and Ida Lupino traded off starring duties on the anthology show FOUR STAR PLAYHOUSE, and while the two best performers of the four weren’t able to compete directly against each other (Niven and Lupino), Niven was still able to demonstrate his skills against fellow star Boyer. But Boyer is still great within the tight, 25-minute dramas of the show, and he and Niven are leagues ahead of the fellow nominees. James Arness serves his marshal character well on GUNSMOKE, but while the long-running Western was recognized for its grit and realism for contemporary TV, it feels a bit staid by today’s standards. I don’t love FATHER KNOWS BEST, but Robert Young’s patriarch is a stronger influence than Hugh O’Brian’s ultimately forgettable Wyatt Earp, who is a bit too squeaky clean. I should mention that, for whatever reason, I am just generally biased in Niven’s favor; the guy has some quality that consistently attracts me to his performances.

Best Continuing Performance by an Actress in a Dramatic Series

• Ida Lupino — FOUR STAR PLAYHOUSE
• Loretta Young — THE LORETTA YOUNG SHOW*
• Jan Clayton — LASSIE
• Peggy Wood — MAMA~
• Jane Wyman — JANE WYMAN PRESENTS THE FIRESIDE THEATRE~

As mentioned, Ida Lupino was the other standout force on FOUR STAR PLAYHOUSE. While I feel that her and Loretta Young are both of that “movie star on television” quality, Young was not quite as good on TV as she was in other roles. One 1956 episode of her show also puts her in yellowface, a truly uncomfortable moment that sours the rest of her work, at least and especially for this season of THE LORETTA YOUNG SHOW. I don’t really understand Jan Clayton’s nomination here. LASSIE is just one of those middle-of-the-road shows, and her admittedly reassuring mother character isn’t exactly extraordinary, nor is her performance of said character.

Best Supporting Performance by an Actor

• Ed Wynn — “Requiem for a Heavyweight” (PLAYHOUSE 90)
• Art Carney — THE JACKIE GLEASON SHOW
• Carl Reiner — CAESAR’S HOUR*
• William Frawley — I LOVE LUCY
• Paul Ford — THE PHIL SILVERS SHOW

This was one of the most difficult categories to “evaluate,” quite honestly. But ultimately, I had to recognize that legendary comedian Ed Wynn’s dramatic performance in “Requiem for a Heavyweight,” in which he is a sympathetic support to Jack Palance’s “Mountain,” is too touching. All the other nominees are for comedic roles, and while I’ve written about the divinity of Art Carney as Ed Norton in “The Honeymooners” sketches, or Carl Reiner’s consistency, or William Frawley’s cantankerous reliability, Wynn is just a treasure (and he plays well against his son Keenan). The easy choice for the bottom spot, however, is Paul Ford as the Colonel on THE PHIL SILVERS SHOW, although it’s not because he’s terrible. In fact, he’s just fine, but he can’t compete with his peers here.

Best Supporting Performance by an Actress

• Audrey Meadows — THE JACKIE GLEASON SHOW
• Vivian Vance — I LOVE LUCY
• Pat Carroll — CAESAR’S HOUR*
• Ann B. Davis — THE BOB CUMMINGS SHOW
• Mildred Natwick — “Blithe Spirit” (FORD STAR JUBILEE)~

While Jackie Gleason is the star and Art Carney is the over-the-top support, Audrey Meadows is underrated as the perfectly stoic wife playing against Gleason’s pompous and temperamental idiot in “The Honeymooners” sketches. Vivian Vance is in a similar place with William Frawley, but her support of the title character on I LOVE LUCY modulates her character a bit more. But I really just like Meadows’ sarcasm, and regardless, her and Vance do surpass Pat Carroll, who is as fine a support as Nanette Fabray, I must point out. Ann B. Davis on THE BOB CUMMINGS SHOW is about as forgettable as the show itself.

Best Single Performance by an Actor

• Jack Palance — “Requiem for a Heavyweight” (PLAYHOUSE 90)*
• Sal Mineo — “Dino” (STUDIO ONE)
• Lloyd Bridges — “Tragedy in a Temporary Town” (ALCOA-GOODYEAR PLAYHOUSE)~
• Fredric March — “Dodsworth” (PRODUCERS’ SHOWCASE)~
• Red Skelton — “The Big Slide” (PLAYHOUSE 90)~

“Requiem for a Heavyweight” was famously turned into a feature film in 1962, starring a nearly perfectly cast Anthony Quinn as the main character. But in 1956, Jack Palance’s craggy features and troubled demeanor set the template. Palance is uber-sympathetic, a gentle soul, one who is smart and self-aware enough to know his plight as a former heavyweight fighter but not educated enough to find meaningful work in the wake of his violent career. It’s really one of the great TV performances up to this point, as is the whole production. Palance is clearly superior to Sal Mineo in “Dino,” although that celebrated actor does OK in his “troubled teen” drama.

Best Single Performance by an Actress

• Evelyn Rudie — “Eloise” (PLAYHOUSE 90)
• Claire Trevor — “Dodsworth” (PRODUCERS’ SHOWCASE)*~
• Edna Best — “This Happy Breed” (FORD STAR JUBILEE)~
• Gracie Fields — “The Old Lady Shows Her Medals” (THE UNITED STATES STEEL HOUR)~
• Nancy Kelly — “The Pilot” (STUDIO ONE)~

Only fragments of one nominee’s performance from this category are easily accessible (again, what is up with female acting categories being decimated from this era?), but sure, child actress Evelyn Rudie as the title character in “Eloise” is impressive. Only six years old when nominated for this precocious performance, Rudie would go on to work in theater as a playwright, costume designer, and artistic director. In “Eloise,” though, she creates a solid, “kid with an old soul” character.

Best Direction, Half Hour or Less

• Sheldon Leonard — THE DANNY THOMAS SHOW*
• George Archainbaud — TALES OF THE 77TH BENGAL LANCERS~
• Herschel Daugherty — GENERAL ELECTRIC THEATRE~
• William Russell — YOU ARE THERE~
• Clay Yurdin — CAMERA THREE~

MAKE ROOM FOR DADDY became THE DANNY THOMAS SHOW in 1956, as Danny Williams’ wife (played by Jean Hagen) was killed off and Danny Thomas stayed as the sole adult star. Perhaps it’s because he has fewer opportunities to be uncomfortably patriarchal, or perhaps the show’s Danny was written to be a bit softer without a female presence, but THE DANNY THOMAS SHOW became not so grating to me. In any event, what is in my opinion relatively inauspicious sitcom directing has to take the win with the absence of any competitors.

Best Direction, One Hour or More

• Ralph Nelson — PLAYHOUSE 90*
• George Roy Hill — KRAFT TELEVISION THEATRE
• John Frankenheimer — PLAYHOUSE 90
• Bob Banner — THE DINAH SHORE CHEVY SHOW
• Lewis Allen — THE 20TH CENTURY FOX HOUR~
• Kirk Browning — NBC OPERA THEATRE~

Ralph Nelson directed the much-praised “Requiem for a Heavyweight,” and so much credit should be given to him for how he handled the performances and, yes, the good live camerawork. George Roy Hill directed the technically impressive “A Night to Remember” for KRAFT TELEVISION THEATRE, and that makes a “titanic” impression next to John Frankenheimer’s “Eloise,” which again, is only around in some fragments. These dramas from Golden Age of Television mainstays are certainly more compelling, however, than the “invisible hand” of directing for a musical variety series, as is the case with Bob Banner and THE DINAH SHORE CHEVY SHOW.

Best Teleplay Writing, Half Hour or Less

• James P. Cavanagh — “Fog Closing In” (ALFRED HITCHCOCK PRESENTS)*
• Dan Ullman — “The Buntline Special” (THE LIFE AND LEGEND OF WYATT EARP)
• John Nesbitt — “Man with a Beard” (TELEPHONE TIME)
• Richard Morris — “The Pearl” (THE LORETTA YOUNG SHOW)
• Morton Fine, David Friedkin — “Patrol” (FRONTIER)~

I’m glad ALFRED HITCHCOCK PRESENTS was recognized for something else, even if it wasn’t for directing. But James P. Cavanagh’s dark ending for “Fog Closing In” is remarkable, especially for television at the time. It’s a thrilling episode, and while I explained that Hugh O’Brian’s performance on THE LIFE AND LEGEND OF WYATT EARP wasn’t incredible, “The Buntline Special” tells a decent story. It’s better than the forgettable TELEPHONE TIME, but even obscurity is better than the ignominy of the yellowface-creating episode of THE LORETTA YOUNG SHOW, “The Pearl.” I suppose it didn’t necessarily have to be written that way, and there’s some compelling stuff to the story, but it’s tainted the production of the teleplay.

Best Teleplay Writing, One Hour or More

• Rod Serling — “Requiem for a Heavyweight” (PLAYHOUSE 90)*
• George Roy Hill, John Whedon — “A Night to Remember” (KRAFT TELEVISION THEATRE)
• Elick Moll — “Sizeman and Son” (PLAYHOUSE 90)~
• Louis Peterson — “Joey” (ALCOA-GOODYEAR PLAYHOUSE)~
• Reginald Rose — “Tragedy in a Temporary Town” (ALCOA-GOODYEAR PLAYHOUSE)~

I’ve written at length comparing “Requiem for a Heavyweight” and “A Night to Remember,” so suffice it to say that there is a really strong emotional core to the former and not so much for the latter. However, I’ll also add that the story of Serling’s script reminds me of my favorite TWILIGHT ZONE episode, “The Big Tall Wish,” which also deals with boxing.

Best Writing, Variety or Situation Comedy

• Gary Belkin, Mel Brooks, Larry Gelbart, Sheldon Keller Neil Simon, Michael Stewart, Mel Tolkin — CAESAR’S HOUR
• Billy Friedberg, Nat Hiken, Coleman Jacoby, Arnold Rosen Leonard Stern, Tony Webster — THE PHIL SILVERS SHOW*
• George Balzer, Hal Goldman, Al Gordon, Sam Perrin — THE JACK BENNY PROGRAM
• Louis M. Heyward, Ernie Kovacs, Rex Lardner, Mike Marmer — THE ERNIE KOVACS SHOW
• Goodman Ace, Jay Burton, Mort Green, George Foster — THE PERRY COMO SHOW

While THE PHIL SILVERS SHOW churned out some pretty good situations for Sergeant Bilko to be a huckster within, the variety within CAESAR’S HOUR’s sketches is commendable. I also think there was more of a craft to the writing on display for CAESAR’S HOUR, something that makes it remarkable even today, while THE PHIL SILVERS SHOW is a recognizable sitcom (a funny one, but an “old” one) in the modern era. THE JACK BENNY PROGRAM brings some great metafictional narratives to bear for its star, but I feel it trades on that a bit too much. THE ERNIE KOVACS SHOW feels closer to pure anarchy, so I don’t know how much credit to give to the structure of the writing of the show. Finally, THE PERRY COMO SHOW is unremarkable as something that is “written;” the musical numbers are the best part, and those aren’t cooked up in the show’s writers’ room.

I don’t know that I have takeaway from 1956 television that is unique compared to my summaries of previous years; the scope of quality television was widening every year of the decade. I agreed with The Television Academy of 1957 ten out of 19 times, a 53 percent “evaluation.” I did in part agree with their big winner, although in my case, I think PLAYHOUSE 90 should have won six awards, while CAESAR’S HOUR would have slipped down to two wins. In any event, the new show came out of the corner swinging, bringing one of the best things to yet grace television screens with “Requiem for a Heavyweight.”