Television
An attempt was made to adapt A Day in the Life Of Dennis Day as an NBC filmed series (Sam Berman's caricature of Dennis was used in the opening and closing titles), produced by Jerry Fairbanks for Dennis' sponsor, Colgate-Palmolive, featuring the original radio cast, but got no farther than an unaired 1949 pilot episode. In late 1950, a sample kinescope was produced by Colgate and their ad agency showcasing Dennis as host of a projected "live" comedy/variety series (The Dennis Day Show) for CBS, but that, too, went unsold. He continued to appear as a regular cast member when The Jack Benny Program became a TV series, staying with the show until it ended in 1965.
Eventually, his own TV series, The Dennis Day Show (aka The RCA Victor Show), was first telecast on NBC on February 8, 1952, and then in the 1953-1954 season. Between 1952 and 1978, he made numerous TV appearances as a singer and actor (such as NBC's The Gisele MacKenzie Show and ABC's The Bing Crosby Show and Alfred Hitchcock Presents) and voice for animation, such as the Walt Disney feature Johnny Appleseed, handling multiple characters.
During the final season of The Jack Benny Program (1964–65), Day was nearly 49 years old, although Jack was still delivering such lines as "That crazy kid drives me nuts ..."
His last televised work with Benny was in 1970, when they both appeared in a public service announcement together to promote savings and loans. This was shortly after, the whole cast and crew of The Jack Benny Show had gotten together for Jack Benny's Twentieth Anniversary Special.
In 1972, he co-starred with June Allyson and Judy Canova in the First National Tour of the Broadway musical No, No, Nanette.
In 1978, Day voiced Fred in The Stingiest Man in Town, which was Rankin-Bass' animated version of Charles Dickens's novel A Christmas Carol.
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Famous quotes containing the word television:
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving one’s ordinary surroundings, soap operas are in fact spatially inseparable from the rest of one’s life. In homes where television is on most of the time, they are also temporally integrated into one’s “real” life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“They [parents] can help the children work out schedules for homework, play, and television that minimize the conflicts involved in what to do first. They can offer moral support and encouragement to persist, to try again, to struggle for understanding and mastery. And they can share a child’s pleasure in mastery and accomplishment. But they must not do the job for the children.”
—Dorothy H. Cohen (20th century)
“The television screen, so unlike the movie screen, sharply reduced human beings, revealed them as small, trivial, flat, in two banal dimensions, drained of color. Wasn’t there something reassuring about it!—that human beings were in fact merely images of a kind registered in one another’s eyes and brains, phenomena composed of microscopic flickering dots like atoms. They were atoms—nothing more. A quick switch of the dial and they disappeared and who could lament the loss?”
—Joyce Carol Oates (b. 1938)