Playhouse 90: Season 1, Episode 20

The Comedian (14 Feb. 1957)

TV Episode  -   -  Comedy | Crime | Drama
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Ratings: 8.4/10 from 140 users  
Reviews: 10 user | 7 critic

Sammy Hogarth, a vaudeville comedian who now has his own TV show, is a ruthless egomaniac who demands instant obedience from his staff and heaps abuse on those in lesser positions than he ... See full summary »



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Title: The Comedian (14 Feb 1957)

The Comedian (14 Feb 1957) on IMDb 8.4/10

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Episode cast overview:
Richard Joy ...
Himself - Announcer (as Dick Joy)
Sammy Hogarth
Julie Hogarth
Al Preston
Lester Hogarth
Constance Ford ...
Otis Elwell
King Donovan ...
The Director
Eddie Ryder ...
Michael Ross ...
Masseur (as Mike Ross)


Sammy Hogarth, a vaudeville comedian who now has his own TV show, is a ruthless egomaniac who demands instant obedience from his staff and heaps abuse on those in lesser positions than he is. His most vituperative behavior, however, is reserved for his weak-willed brother, Lester, who Sammy has hired as his assistant but who really uses him as his whipping boy. Written by

Plot Summary | Add Synopsis





Release Date:

14 February 1957 (USA)  »

Company Credits

Show detailed on  »

Technical Specs



Sound Mix:

Aspect Ratio:

1.33 : 1
See  »

Did You Know?


Mickey Rooney brought many women to the casting sessions and got many of them hired as dancers in the show production numbers. See more »


Referenced in A Decade Under the Influence (2003) See more »

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User Reviews

Mickey Rooney is a Revelation
25 December 2010 | by (Saint Paul, MN) – See all my reviews

I watched this yesterday and was astounded by the performances of all, but especially Mickey Rooney. He is so natural and fluid. His performance is seamless. For those who think of Mickey Rooney as a happy-go-lucky character type, this performance will floor you. He is nasty and ruthless and heartless. The rest of the cast is similarly flawless. How much time did it take to rehearse, I wonder? Watching these old live broadcasts is also a revelation. That they were able to have such variety and density in such confined environs is amazing. While some things such as transitions and breaks are crude by today's standards, that they did all of this live is impressive. There is a montage near the end of the program with cross-fades and multiple locations. How did they do it? The writing is equally spectacular. Can one think of anything similar being done today? As another reviewer noted, the denouement does have something of a false ring to it. I won't spoil it here. I know how I would have ended it. It would be interesting to read the Ernest Lehman story on which the show is based to see if it is the same.

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