This Happy Breed (1956)

In 1954 Roger Moore became part of the MGM family. The classic star system, established back in the 1930s, was getting to a slow end but still Moore was able to witness the old school Hollywood splendor by co-starring in three big movie productions. However, before that, he had already played a couple of mainly supporting roles on American television - and even to a small success. His last TV outing during the MGM days (well, actually shortly after) was in an artistically acclaimed This Happy Breed, the story of life and loves of a suburban family from 1919 to 1939, written, starring and co-directed by the late Noël Coward.

The 1956 rendition of Coward's play was part of the CBS' short lived Ford Star Jubilee drama series. It was performed live from New York City on May 5, 1956. It was preceeded by a two week rehearsals. The telecast of the play was a huge success and the new adaptation of This Happy Breed was then considered as the finest Amercian TV play made so far. Without a doubt, it was Roger Moore's first notable artistic successes as well. Coward himself prasied all the actors who took part in the production: "The whole cast played beutifully. No one grabbed opportunities or fluffed or lost their heads and it was an almost perfect production from every point of view." Edna Best who co-starred as Ethel Gibbons was nominated for an Emmy for Best Actress in a Single Performance.

Excerpts from Roy Moseley's biography of Sir Roger about the casting of Moore and the famous advices he was given by the Master: "Cast by Noël Coward himself, Roger received the offer of the third principal part, that of Billy Mitchell (who was played in the film version by John Mills [1944] and in the original theatrical production in London by James Donald [1939]), and had to leave to New York immediately since rehearsals were due to start on Monday, April 16th [1956]. Although it had nothing to do with Coward's casting of Roger in this prestigious production, it is interesting to note that Roger had appeared in stage version of This Happy Breed when he was at RADA [1945]. Roger was chosen due to the merits that Coward observed in him as an actor, with the Master [Coward] perceiving a genuine talent in this handsome young man beyond his obvious attractions."

"Coward lived up to all Roger's expectations of him, and the young actor was able to enjoy 'some marvellous chats' with the great man during the rehearsal period in this first and only professional engagement with him. Coward offered Roger some invaluable advice, telling him that he should accept every job that was offered: 'The moment you are not working, you are not an actor... and if you are offered two jobs at once don't take the one with the larger part, take the one with the larger money.'"

"He also told Roger to forget about elaborate diets and provided a solution that had much more appeal for the young man: 'Eat and drink what you like until you are overweight. Then starve yourself until you're back to where you should be.'"

Ford Star Jubilee was a live, 90-120 minute, color spectacular that aired once a month on Saturday nights on CBS for, basically, one season. Sponsored by the Ford Motor Company the shows featured top of the line talent in front of, and behind, the camera. The shows were done live from New York or the CBS Television City Color Studios in Hollywood, CA. The program was nominated for an Emmy as Best Variety Series.

CONTEMPORARY REVIEWS:
New York Daily News, May 7, 1956: "Not top drawer Coward. It didn't have the entertainment content of virtuousity of his lighter plays. Cowards production and direction were smooth and the cast was of high quality. Noël seemed in some of his emotional moments a bit too casual but, on the whole he gave a lovable and solid portrayal of as un-Cowardania character as you can imagine."

Variety, May 9, 1956: "This Happy Breed made rewarding viewing if only for Coward's performance. Divorcing himself completely from the white tic and tail identity, Coward was the sincere father and the perfect husband with all the middle class virtues and standards indelibly portrayed. It was a capital performance."

New York World Telegram, May 5,1956: "This is one ol'Noël Coward's best works. CBS is sparing no pains and no pennies to give it a first rate production." NOTES: As opposed to his previous Hollywood experience, Coward loved working on this play and with Edna Best.

For cast and credits details CLICK HERE.

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