The Fabulous Career of Stanley Chase
October 14, 2014
Today’s New York Times has an obituary for Stanley Chase, a producer best known for mounting a key Off-Broadway production, a staging of The Threepenny Opera that ran for six years in the late fifties, and for the terrific science fiction film Colossus: The Forbin Project. The Times also credits Chase as a producer of television’s The Fugitive and Peyton Place, and for Bob Hope Presents The Chrysler Theater, specifically of that series’ Emmy-winning adaptation of Solzhenitsyn’s “One Day in the Life of Ivan Denisovich.”
But those television credits are largely inaccurate.
Chase did not produce either The Fugitive or Peyton Place, and his brief stint on The Chrysler Theater post-dated “One Day in the Life of Ivan Denisovich” by several years. The Times records that Chase launched The Threepenny Opera from a phone booth in a Manhattan cafeteria, and one must wonder if the newspaper has fallen for the sort of resume puffery that one might expect from such an intrepid hustler. Did the Times‘s latest round of layoffs include all the fact-checkers?
Here is a more accurate rundown of Stanley Chase’s career in television.
Chase graduated from New York University in 1949 and claimed (in 1955 and 1958 biographies that appeared in programs for The Threepenny Opera) to have founded and edited a “TV trade weekly” called Tele-Talent. The same biography places Chase on the staff of Star Time, a DuMont variety show that ran from September 1950 to February 1951, as a writer and associate producer. At some point between 1951 and 1954, Chase worked for CBS, where he met Carmen Capalbo, who would become his producing partner on The Threepenny Opera. The Times obit and other sources describe Chase as a story editor for Studio One, at the time CBS’s most prestigious dramatic anthology; the Threepenny Opera bios claim only that Chase worked in the CBS story department for “a number of years.” Studio One had no credited story editor prior to Florence Britton (starting in 1954), and a 1962 Back Stage article characterizes Chase’s role in slightly more modest terms: he “was a script consultant to the CBS-TV story department and assisted with such shows as Studio One, Suspense, and Danger during 1952 and 1953.” A profile of Chase by Luke Ford (author of The Producers: A Study in Frustration), based on Ford’s interview with Chase, offers an even humbler description of Chase’s CBS job (at least at the outset): messenger.
During the run of The Threepenny Opera, Chase produced three plays on Broadway and a Harold Arlen musical, Free and Easy, which closed after a European tour in 1960. After that, and a failed road company of The Threepenny Opera, he turned his attention again to television. In 1962, through his company Jaguar Productions, Chase developed a pilot that ended up at United Artists Television; called Dreams of Glory (and later retitled Inside Danny Baker), the proposed series was based on cartoons by William Steig (the creator of Shrek) and scripted by a pre-The Producers, pre-Get Smart Mel Brooks, at the time best known for his 2000 Year Old Man routine with Carl Reiner. According to UCLA’s catalog record for Inside Danny Baker, Chase shared a creator credit with Brooks, a configuration that would likely be prohibited under modern WGA rules. Chase told Ford that he and Brooks were sometime roommates, sharing an apartment in Manhattan and a Jaguar Mark IX in Los Angeles.
In May 1962, Chase joined ABC as a “director of programming development,” reporting to vice president Daniel Melnick. (Chase’s predecessor in that position: Bob Rafelson.) The Fugitive and Peyton Place were developed for ABC during Chase’s fifteen months as an executive at the network; but, significantly, those series were put together in Hollywood, and Chase was stationed in New York. Even if Chase did have some input, it’s far from customary for network suits to claim credit as producers. “We are looking for good shows and we’re working on some new ideas,” Chase told Back Stage in April 1963 – but just what ideas, exactly, seem to be lost to history.
In August 1963, Chase left ABC for a position as production executive for Screen Gems Television (still on the East Coast), where he developed a comedy pilot that would have been directed by Burgess Meredith and starred Zero Mostel. By the end of 1964, Chase was a free agent again, putting together another unsold pilot, Happily Ever After (renamed Dream Wife), starring Shirley Jones and Ted Bessell. Again, UCLA records Chase as a non-writing co-creator, alongside comedy writer Bob Kaufman.
In 1966, Chase – having finally relocated to Los Angeles – signed on with Universal, where he was assigned to the prestigious but fading filmed dramatic anthology Bob Hope Presents The Chrysler Theater. Chase came on the series at the tail end of the third season, and went into the show’s final year as one of four alternating producers under executive producer Gordon Oliver. The original group reporting to Oliver consisted of Jack Laird, Gordon Hessler, Ron Roth, and Chase; later Bert Mulligan and Paul Mason joined or replaced them. As if that weren’t fragmented enough, the twenty-six segments of Chrysler‘s fourth season included at least six produced outside of Oliver’s unit. It is possible that Chase worked on fewer than half a dozen episodes.
The five Chrysler episodes that I can confirm as produced by Chase are: “The Faceless Man” (an unsold pilot for a Jack Lord espionage drama called Jigsaw, later expanded into the theatrical feature The Counterfeit Killer; and yet again, Chase appears to have added his name to that of the pilot’s writer, Harry Kleiner, as a co-creator); “Time of Flight,” a Richard Matheson script with elements of science fiction; “A Time to Love,” an updating of Henry James’s Washington Square into a “jet age love story set in Malibu Beach” (New York World Journal Tribune) starring Claire Bloom and Maximilian Schell; “Verdict For Terror”; and “Deadlock,” an adaptation of an Ed McBain story that was the final new episode to air. “Time of Flight” was also a pilot, in contention as a series (to star Jack Kelly) for the 1967-68 season – and once again, per Billboard, Chase managed to couple his name to Matheson’s as a co-creator.
(“One Day in the Life of Ivan Denisovich” was not one of Chase’s episodes: It was made in 1963, when Chase was still at ABC, and bears the creative stamp of Chrysler‘s original producer, Dick Berg. The teleplay for “Denisovich” is credited to Chester Davis – a pseudonym for screenwriters Russell Rouse and Clarence Greene – and Mark Rodgers, an ex-cop who was a protege of Berg’s.)
Joseph Sargent, the director of “Time of Flight,” also directed the two features that Chase produced for Universal following the demise of Chrysler: the quickie The Hell With Heroes and Colossus, which began gestating as early as April 1967, when Chase hired James Bridges to adapt the D. F. Jones novel upon which the film is based. Chase also developed another feature, a rock musical with tunes by Jim Webb, that never got off the ground, and optioned Matheson’s novel Hell House, with Richard C. Sarafian slated to direct. (The precise timing of the latter effort is unclear, but it had to fall between “Time of Flight” and The Legend of Hell House, director John Hough’s 1973 version of the Matheson novel.)
Chase was often at odds with the studio over Colossus, which was shot on a relatively modest budget ($2 million) but languished in post production for eight months of special effects tinkering. Universal execs had no faith in either the no-name cast that Chase insisted upon or the title, which it changed from Colossus 1980 to simply The Forbin Project (Chase: “probably because someone in a black suit out there thought Colossus sounded like a Joe Levine epic” – which it does, admittedly). At the producer’s prodding, the film finally crept into theaters for a New York test run in April 1970, but not until after a mortified Chase saw it playing as the in-flight entertainment during a commercial flight.
Good reviews led to a wider release for Colossus in the fall, more than a year and a half after principal photography, by which time Chase – vindicated, but perhaps with too many burned bridges behind him – had left Universal. Chase formed an independent company and optioned Stephen Schneck‘s cult novel The Night Clerk in 1971. That film was never made, but Schneck worked as a screenwriter on at least two of the offbeat features Chase produced in the seventies, which include: Peter Sasdy’s Westworld knockoff Welcome to Blood City; the Peter Fonda trucker opus High-Ballin’; and Donald Shebib’s Fish Hawk, which unfortunately is not about a creature that’s half-fish, half-hawk. (Will Sampson plays the title character, a Native American.)
Chase also produced movies for television, including Grace Kelly, a foredoomed biopic with Cheryl Ladd as the movie star princess; An American Christmas Carol (yes, the one with Henry Winkler); The Guardian, a critique of vigilantism written by William Link and Richard Levinson; and one of the most significant telefilms of the seventies: the Emmy-winning Fear on Trial, about radio personality John Henry Faulk’s lawsuit to expose the blacklist.
Chase’s papers reside at UCLA, and its finding aid contains a biography that is more fact-oriented than the Times‘s (although its chronology is slightly garbled). The UCLA biography reports that Chase was born Stanley Cohen, suggesting yet another inaccuracy in the Times obit, which claims that the producer’s parents were named Hyman and Sarah Chase.
In all, Chase’s career in television was far from undistinguished. It just doesn’t bear much resemblance to the one that the Times describes.