|  
 
	| The 
Hosts |   
|  | Ed 
Wynn Season 
1 - 11 Episodes
 Season 2 - 7 Episodes
 
 Known 
as "The Perfect Fool," Ed Wynn was a veteran of vaudeville and radio, 
and at the premiere of Four Star Revue, had already had a year's experience 
in television, hosting his own show.
 |   
|  | Danny 
Thomas Season 1 - 12 
Episodes
 Season 2 - 8 Episodes
 
 Following success as a nightclub entertainer, Danny Thomas was considered a natural 
for television. While his Four Star/All Star Revue stint was entertaining, 
it wasn't until his Make Room for Daddy sitcom that Thomas became a bonafide 
TV star.
 |   
		|  | Jack 
Carson Season 1 - 10 Episode
 Season 2 - 4 Episodes
 A 
versatile character actor, equally comfortable in both comedy and drama, Jack 
Carson was a familiar face to moviegoers. He made a series of films co-starring 
Dennis Morgan and was popular on radio before moving into television.
 |   
	|  | Jimmy DuranteSeason 1 - 8 Episodes
 Season 2 - 8 Episodes
 Season 3 - 8 Episodes
 One 
of America's most beloved 
entertainers, Jimmy Durante starred in more episodes of Four Star/All Star 
Revue than any other host. His act was similar to that seen on his other radio 
and TV shows, including the trademark, "Good night, Mrs. Calabash, wherever 
you are."
 |   
		|  | Martha Raye Season 2 - 4 Episodes
 Season 3 - 5 Episodes
 Season 
4 - 3 Episodes
 
 One 
of the great comediennes of 1950s television, Martha Raye was the only host to 
survive the third season of All Star Revue, which morphed into her own 
show that continued on for more than two seasons.
 |   
|  | Olsen 
and Johnson Season 2 - 4 Episodes
 Longtime 
veterans of films, Olsen and Johnson didn't quite gel on television. Their run 
on All Star Revue was a short one.
 |   
|  | George 
Jessel
 Season 3 - 6 Episodes
 The 
ultimate toastmaster, Jessel was a natural at witty repartee and knew how to bring 
out the best in his guests.
 |   
|  | Tallulah 
Bankhead
 Season 3 - 6 Episodes
 The 
grand dame of the cutting remark, Tallulah Bankhead shone on TV, as she had on 
radio and in the theater. Sadly, her tenure as a small screen hostess was a brief 
one.
 |  | 
Broadcast 
History Wednesdays, 8:00 - 9:00 pm, NBC-TV
 Four 
Star Revue (10/4/1950 - 7/18/1951)
 
 Saturdays, 8:00 - 9:00 pm, NBC-TV
 All Star Revue (9/18/1951 - 6/21/1952)
 
 Saturdays, 
8:00 - 9:00 pm, NBC-TV
 All Star Summer Revue (6/28/1952 - 8/30/1952)
 
 Saturdays, 
8:00 - 9:00 pm, NBC-TV
 All Star Revue (9/6/1952 - 4/18/1953)
 
 Saturdays, 9:00 - 10:30 pm (every 
4th week), NBC-TV
 All Star 
Revue (10/3/1953 - 12/26/1953)
 
 If 
Four Star Revue was the sister show to The 
Colgate Comedy Hour, it was the poorer of the two siblings. Both were 
on the same network and had the same variety format, with rotating hosts who often 
crossed over from one show to the other. But what Four Star Revue didn't 
share with The Comedy Hour was great ratings. Not 
that the ratings were bad. In fact, they were quite respectable. In its second 
season, the show tied with Dragnet for 20th place. And even in it's third 
and final season as a weekly show, it had only fallen to 26th place - just behind 
Amos 'n' Andy.  
The real problem was cost. At the time of its premiere, Revue cost $50,000 
an episode to produce, making it one of the two most expensive shows on television 
(the other being The Colgate Comedy Hour). Naturally, at that price, its 
sponsors wanted to see a reasonable return on their investment. But when they 
saw other shows scoring higher ratings at a fraction of the cost, they began to 
wonder if they couldn't get a bigger bang for their buck elsewhere. So 
not surprisingly, holding on to sponsors was a problem. In contrast to The 
Comedy Hour, which had the same sponsor for its entire run, Revue saw 
its underwriters come and go. Because the cost was so high, NBC came up with an 
arrangement to split it equally between three sponsors. But even then, the sponsors 
kept bailing. Another issue 
Revue had to deal with was the revue format itself. It became apparent 
early on that simply plugging in a big star didn't guarantee success. The format 
worked well for old vaudevillians like Jimmy Durante and (for a time) Ed Wynn 
or a visual comedienne like Martha Raye. But for personalities like George Jessel 
and Tallulah Bankhead, whose humor was more verbal and cerebral, it was less successful. 
And supper club entertainer Danny Thomas didn't find his perfect TV vehicle until 
landing the lead on the sitcom Make Room For Daddy. As 
is evident in the smattering of episodes that still exist, Four Star Revue/All 
Star Revue has much to recommend it as entertainment, not to mention its historical 
importance for the place it holds in the careers of many great entertainers. An 
example of the big budget, megastar variety show of the early fifties, it was 
eventually done in by the economics of the television business.  
 | Behind 
the Scenes Like 
the Colgate Comedy Hour, Four Star Revue/All Star Revue had a dependable 
array of talented people running things in the background. NBC's 
Pete Barnum was the first executive producer, joined by Harold Kemp of the William 
Morris Agency in the second season. Sam Fuller of NBC took over that job in the 
third season. These people had, as their primary responsibility, the role of liaison 
between their companies and the show. Barnum and Fuller also ensured that the 
hosts were well stocked with big name guest stars. Various producers worked under 
the execs, doing the day-to-day job of getting the show on the air. Joseph 
Santley, remembered today primarily for staging the musical numbers in the Marx 
Brothers' debut film The Cocoanuts, was Jimmy Durante's producer-director, 
not just on Revue but on the Schnoz's subsequent Colgate Comedy Hour 
and Texaco Star Theater stints, as well. Santley had directed Durante in 
the 1940 Gene Autry vehicle Melody Ranch and did some producing-directing 
for Ed Wynn on Revue, too. Leo 
Morgan, who later worked on Sid Caesar's Caesar's Hour, produced for Danny 
Thomas, Olsen and Johnson, and Martha Raye. Norman Zeno was Jack Carson's first 
producer, before Coby Ruskin was promoted from director to replace him. (Ruskin 
was subsequently blacklisted for a time and had to move to England to find work. 
Returning to the States, he resumed his career by directing shows like The 
Andy Griffith Show, Gomer Pyle, U.S.M.C., and Here's Lucy.) Tallulah 
Bankhead brought her producer-director Dee Engelbach over from her radio program 
The Big Show, while George Jessel borrowed Martin and Lewis's Colgate 
Comedy Hour producer-director Ernest D. Glucksman. Ezra 
Stone, who had played eternal teenager Henry Aldrich on radio ("Coming, Mother!"), 
directed Revue episodes for Danny Thomas, Ed Wynn, Martha Raye, and Ezio 
Pinza. He was married to actress Sara Seegar, and his subsequent work included 
episodes of The Munsters and Lost in Space. Other 
directors were James V. Kern (later of I Love Lucy and My Three Sons), 
Garry Simpson, Bill Bacher, and Tim Whelan. In 
the early days of TV, there were often two directors, one to stage the show and 
another to handle the technical task of directing the cameras. On Revue, 
TV directors included Grey Lockwood, Sid Smith, Doug Rodgers, and Hal Keith. |  |  | Writer-director 
Nat Hiken worked for Jack Carson and Martha Raye on Four Star Revue/All Star 
Revue. | 
 The 
brilliant Nat Hiken, who had been with Fred Allen and Milton Berle on radio, was 
Jack Carson's head writer before performing the same function on Martha Raye's 
shows. At the start of the third season, he became Raye's director, as well, before 
moving on to create the classic Phil Silvers Show (aka Sgt. Bilko) 
and Car 54, Where Are You? Working with Hiken on scripts were Billy Friedberg 
and Al Singer. Throughout 
his 1950s TV shows, Jimmy Durante primarily used only two writers, Charles Isaacs 
and Jack Elinson, while Ed Wynn's 
list was much longer and included John Whedon, Seaman Jacobs, Bud Pearson, Dick 
McKnight, Bob Schiller, Vincent Bogert, Al Johansen, Leo Solomon, Bud Pearson, 
Joe Stein, Stan Burns, Herb Sargent, Maurice Richlin, Bill Jacobson, Art Stander, 
Sid Dorfman, and Hal Kanter. Danny 
Thomas wrote some of his own material, but also relied on Arnold Horwitt, Morris 
Freedman, Julie Oshins, Bob Schiller, Phil Sharp, Aaron Ruben, and Jerry Seelen. George 
Jessel's writers were Mannie Manheim and Larry Gelbart (formerly of Your Show 
of Shows and Bob Hope and futurely of M*A*S*H). Tallulah Bankhead performed 
material written by Mort Green, George Foster, Robert Tallman, Howard Snyder & 
Hugh Wedlock, and Danny Simon & his brother Doc Simon (who would grow up to become 
superstar playwright Neil Simon). Some 
of the show's choreographers were future Hollywood director Herbert Ross (for 
Martha Raye), George Hale and Aida Broadbent (Jimmy Durante), Ronnie Fletcher 
(Tallulah Bankhead), Valerie Bettis (Ezio Pinza), and Seymour Felix (The Ritz 
Brothers). Musical 
directors included Merle Kendrick (Ed Wynn), Lou Bring (Danny Thomas and Ed Wynn), 
Roy Bargy (Jimmy Durante), Dean Elliott (Jack Carson), George Bassman (Martha 
Raye), Milton DeLugg (Olsen and Johnson), Meredith Willson (Tallulah Bankhead), 
and Al Goodman (George Jessel). Andre 
Baruch was announcer in the early, New York-based episodes, while Don Pardo filled 
that role in later episodes originating from that city. Hal Sawyer introduced 
many west coast episodes. |  Sources As 
usual, I've tried to stick to primary sources as much as possible. The main ones 
are The New York Times TV listings, ads, articles, and reviews, Variety 
reviews and articles, Time magazine reviews and TV listings, the online 
catalog of the UCLA television archives, 
the Internet Broadway Database, and 
the episodes themselves. I've also made use of the books Inka Dinka Doo: The 
Life of Jimmy Durante by Jhan Robbins (Paragon House, 1991), Make Room 
For Danny by Danny Thomas with Bill Davidson (G. P. Putnam's Sons, 1991), 
Ed Wynn's Son By Keenan Wynn as told to James Brough (Doubleday & Company, 
1959), Take It From the Big Mouth: The Life of Martha Raye by Jean Maddern 
Pitrone (The University Press of Kentucky, 1999) and King of the Half Hour: 
Nat Hiken and the Golden Age of TV Comedy by David Everitt (Syracuse University 
Press, 2001). |  |