The audience at the Théâtre des Bouffes-Parisiens, the birthplace of Offenbach's operettas (1860)

Operetta is a genre of light opera, light in terms both of music and subject matter. It is also closely related, in English-language works, to forms of musical theatre.

Operetta in French[link]

Origins[link]

Operetta grew out of the French opéra comique around the middle of the 19th century, to satisfy a need for short, light works in contrast to the full-length entertainment of the increasingly serious opéra comique. By this time, the "comique" part of the genre name had become misleading: Carmen (1875) is an example of an opéra comique with a tragic plot. The definition of "comique" meant something closer to "humanistic," meant to portray "real life" in a more realistic way, representing tragedy and comedy next to each other, as Shakespeare had done centuries earlier. With this new connotation, Opéra comique had dominated the French operatic stage since the decline of tragédie lyrique.

Most researchers acknowledge that the credit for creating the operetta form should go to Hervé (1825–1892), a singer, composer, librettist, conductor, and scene painter.^[1] In 1842 he wrote the little opérette, L'Ours et le pacha, based on the popular vaudeville show by Scribe and Saintine. In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança (after Cervantes), which can be considered the starting point for the new French musical theatre tradition. Hervé's most famous works are the Gounod-parody Le Petit Faust (1869) and Mam'zelle Nitouche (1883).

Offenbach[link]

1858 playbill for Orphée aux enfers

Jacques Offenbach further developed and popularized operetta, giving it its enormous vogue during the Second Empire and afterwards.^[2] Offenbach's earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan (all 1855), and his first full-length operetta success was Orphée aux enfers (1858). These led to the so-called "Offenbachiade": works including Geneviève de Brabant 1859, Le pont des soupirs 1861, La belle Hélène 1864, Barbe-bleue and La Vie parisienne both 1866, La Grande-Duchesse de Gérolstein 1867, La Périchole 1868 and Les brigands 1869. Offenbach's tradition was then carried on by Robert Planquette, André Messager, and others.

What characterizes Offenbach's operettas is both the grotesque way they portray life, and the extremely frivolous way this is done, often bordering on the pornographic. Émile Zola describes the back-stage and on-stage situation in the Théâtre des Variétés during the Second Empire in his novel Nana, which takes place in late 1860s and describes the career of operetta diva/courtesan Nana. The character was closely modeled after Offenbach's female star Hortense Schneider, and Offenbach's librettist Ludovic Halévy gave Émile Zola the details. Considering how Zola's Nana describes an Offenbach-style operetta performance in Paris, it is not surprising that the mostly male, upper-class audience crowded the various theaters every evening. Upper-class audiences in other cities like Vienna and Berlin longed to see these shows in their home towns as well, which inspired worldwide performance of Offenbach's works.

The highly erotic way Offenbach's operettas were originally played, with stars like Hortense Schneider — or the legendary courtesan Cora Pearl, who appeared in a revival of Offenbach's Orphée aux Enfers in 1867 completely covered in diamonds and little else — created a scandalized reaction from certain parts of the general public. Operetta was considered a "frivolous" art form. Indeed, together with its grotesque qualities, frivolity is one of the defining elements of "authentic" operetta à la Offenbach and Hervé.

It was only later, when audiences widened and became more middle and lower class, that operetta became more "serious" and "nostalgic". Many of the originally pornographic French (and Viennese) operettas were later played in a toned-down, "classical" version, which is how audiences today are mostly presented with the genre — in an opera house with opera singers, rather than in a private theatre with courtesans in the lead roles.^[3]

Operetta in German[link]

Austria[link]

This section requires expansion.

Johann Strauss II

The most significant composer of operetta in the German language was the Austrian Johann Strauss, Jr. (1825–1899). His first operetta was Indigo und die vierzig Räuber (1871). His third operetta, Die Fledermaus (1874), became the most performed operetta in the world, and remains his most popular stage work. Its libretto was based on a comedy written by Offenbach's librettists.^[4] In all, Strauss wrote 16 operettas and one opera, most with great success when first premiered. Many of his lesser operettas are now largely forgotten, since his later librettists were less talented and he often composed independently of the plot.

Strauss's operettas, waltzes, polkas, and marches often have a strongly Viennese style, and his popularity causes many to think of him as the national composer of Austria. In fact, when his stage works were first performed, the Theater an der Wien never failed to draw huge crowds, and after many of the numbers the audience would call noisily for encores.

Franz von Suppé, a contemporary of Strauss, closely modeled his operettas after Offenbach. The Viennese tradition was carried on by Franz Lehár, Oscar Straus, Carl Zeller, Karl Millöcker, Leo Fall, Richard Heuberger, Edmund Eysler, Ralph Benatzky, Robert Stolz, Emmerich Kálmán and Nico Dostal in the 20th century.

Germany[link]

In the same way that Vienna was the center of Austrian operetta, Berlin was the center of German operetta. Berlin operetta often had its own style, including, especially after World War I, elements of jazz and other syncopated dance rhythms, a transatlantic style, and the presence of ragged marching tunes. Berlin operettas also sometimes included aspects of burlesque, revue, farce, or cabaret.

Paul Lincke, father of the Berlin operetta

Paul Lincke pioneered the Berlin operetta in 1899 with Frau Luna, which includes "Berliner Luft" ("Berlin Air"),^[5] which became the unofficial anthem of Berlin. His Lysistrata (1902) includes the song and tune "The Glow-Worm", which remains quite popular internationally. Much later, in the 1920s and 1930s, Kurt Weill took a more extreme form of the Berlin operetta style and used it in his operas, operettas, and musicals.

The Berlin-style operetta coexisted with more bourgeois, charming, home-loving, and nationalistic German operettas — some of which were called Volksoperetten (folk operettas). A prime example is Leon Jessel's extremely popular 1917 Schwarzwaldmädel (Black Forest Girl).^[6] These bucolic, nostalgic, home-loving operettas were officially preferred over Berlin-style operettas after 1933, when the Nazis came to power and instituted the Reichsmusikkammer (State Music Institute), which deprecated and banned "decadent" music like jazz and similar "foreign" musical forms.

Notable German operetta composers include Paul Lincke, Eduard Künneke, Walter Kollo, Jean Gilbert, Leon Jessel, Rudolf Dellinger, and Walter Goetze.

Operetta in English[link]

H.M.S. Pinafore

English-language operettas were first composed in England in the 1860s — for example, Arthur Sullivan's Cox and Box (1866). Gilbert and Sullivan solidified the format in England with their long-running collaboration during the Victorian era. With W. S. Gilbert writing the libretti and Sullivan composing the music, the pair produced 14 comic operas, which were later called Savoy Operas. Most were enormously popular in Britain, the U.S., and elsewhere. Sullivan and Gilbert and their producer Richard D'Oyly Carte themselves call their joint works comic operas to distinguish this family-friendly fare from the risqué French operettas of the 1850s and 1860s.^[7] Their works, such as H.M.S. Pinafore, The Pirates of Penzance and The Mikado, continue to enjoy regular performances throughout the English-speaking world.^[8]

English operetta continued into the 1890s, with works by composers such as Edward German, Ivan Caryll and Sydney Jones. These quickly evolved into the lighter song-and-dance pieces known as Edwardian musical comedy. Beginning in 1907, with The Merry Widow, many of the Viennese operettas were adapted very successfully for the English stage. Old-fashioned musicals in Britain retained an "operetta-ish" flavour, at least musically, into the 1950s.

American operetta composers included Victor Herbert, whose works at the beginning of the 20th century were influenced by both Viennese operetta and Gilbert and Sullivan.^[9] He was followed by Sigmund Romberg and Rudolph Friml. More modern American operettas include Leonard Bernstein's Candide. Nevertheless, American operetta largely gave way, by the end of World War I, to musicals, such as the Princess Theatre musicals, and revues, followed by the musicals of Rogers and Hart, Cole Porter, Irving Berlin and others.

Definitions[link]

Operettas have similarities to both operas and musicals, and the boundaries between the genres are sometimes blurred. For instance, American composer Scott Joplin insisted that his serious but ragtime-influenced work Treemonisha (1911) was an opera, but some reference works characterize it as an operetta. Likewise, some of Leonard Bernstein's works he designated as operas (e.g., Trouble in Tahiti) are categorized as operettas, and his operetta Candide is sometimes considered a musical.

Operettas and operas[link]

Operettas are usually shorter than operas, and are usually of a light and amusing character. Operettas are often considered less "serious" than operas.

Topical satire is a feature common to many operettas. However, satire is used in some "serious" operas as well: Formerly, in countries such as France, operas expressed politics in code — for example, the circumstances of the title character in the opera Robert le diable referred, at its first performance, to the French king's parental conflict and its resolution.

Normally some of the libretto of an operetta is spoken rather than sung. Instead of moving from one musical number to another, the musical segments — e.g. aria, recitative, chorus — are interspersed with periods of dialogue. There is usually no musical accompaniment to the dialogue, although sometimes some musical themes are played quietly under it. Short passages of recitative are, however, sometimes used in operetta, especially as an introduction to a song.

Operettas and musicals[link]

The operetta is a precursor of the modern musical theatre or the "musical".^[10] In the early decades of the 20th century, the operetta continued to exist alongside the newer musical, with each influencing the other.

The main difference between the two genres is that most operettas can be described as light operas with acting, whereas most musicals are plays with singing and dancing. This can be seen in the performers chosen in the two forms. An operetta's cast will normally consist of classically-trained opera singers. A musical may use actors who are not operatically trained, and usually the principals are called upon to dance. These distinctions can be blurred: Ezio Pinza and other opera singers have appeared on Broadway. There are features of operetta in Kern and Hammerstein's Show Boat (1927), among others.^[11]

The characters in a musical may be more complex than those in an operetta, given the generally larger amount of dialogue. For example, the characters in Lerner and Loewe's musical My Fair Lady, which is based on George Bernard Shaw's 1914 play Pygmalion, are essentially unchanged from those in Shaw's stage work, because the musical version is quite faithful to the original (except for the changed ending, which is pessimistic in the play), even to the point of retaining most of Shaw's dialogue. Man of la Mancha, adapted by Dale Wasserman from his own ninety-minute television play I, Don Quixote, retains much of the dialogue in that play, cutting only enough to make room for the musical numbers which were added when the play was converted into a stage musical.

See also[link]

• List of operetta composers
• The opera corpus which includes operettas
• Opera
• Zarzuela
• Comic opera
• Savoy opera
• Musical theatre
• Operetta film

Notes[link]

References[link]

• Jacobs, Arthur (1984). Arthur Sullivan: A Victorian Musician. Oxford University Press. ISBN 0-19-315443-9. 

Further reading[link]

• Ganzl, Kurt. The Encyclopedia of Musical Theatre (3 Volumes). New York: Schirmer Books, 2001.
• Traubner, Richard. Operetta: A Theatrical History. Garden City, NY: Doubleday & Company, 1983
• Bordman, Gerald. American Operetta. New York: Oxford University Press, 1981.
• Linhardt, Marion, Residenzstadt und Metropole. Zu einer kulturellen Topographie des Wiener Unterhaltungstheaters (1858–1918). Berlin: Max Niemeyer Verlag, 2006 (German)
• Clarke, Kevin, Glitter and be Gay: Die authentische Operette und ihre schwulen Verehrer. Hamburg: Männerschwarm Verlag, 2007 (German)
• Riccardo Viagrande, Tu che m'hai preso il cuor. Un viaggio nel mondo dell'operetta, Casa Musicale Eco, Monza, 2009 (Italian)

External links[link]

• Extensive site with information about operettas, light operas and their composers
• Essay on operettas of Offenbach, Johann Strauss Jr. and their contemporaries
• Operetta Research Center (with a large archive of historical reviews)

Wikimedia Commons has media related to: Operetta

I Love Lucy is an American television sitcom starring Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. The black-and-white series originally ran from October 15, 1951, to May 6, 1957, on the Columbia Broadcasting System (CBS). After the series ended in 1957, however, a modified version continued for three more seasons with 13 one-hour specials, running from 1957 to 1960, known first as The Lucille Ball-Desi Arnaz Show and later in reruns as The Lucy-Desi Comedy Hour.

I Love Lucy was the most watched show in the United States in four of its six seasons, and was the first to end its run at the top of the Nielsen ratings (an accomplishment later matched by The Andy Griffith Show and Seinfeld). I Love Lucy is still syndicated in dozens of languages across the world.

The show was the first scripted television program to be shot on 35 mm film in front of a studio audience, and won five Emmy Awards and received numerous nominations. In 2002, it ranked second on TV Guide's list of television's greatest shows, behind Seinfeld and ahead of The Honeymooners.^[1] In 2007 it was listed as one of Time magazine's "100 Best TV Shows of All-TIME."^[2] I Love Lucy remains hugely popular today; more than 60 years after its debut, it is still seen by 40 million Americans each year.^[3]

Premise[link]

Originally set in an apartment building in New York City, I Love Lucy centers on Lucy Ricardo (Lucille Ball) and her singer/bandleader husband Ricky Ricardo (Desi Arnaz), along with their best friends and landlords Fred Mertz (William Frawley) and Ethel Mertz (Vivian Vance). During the second season, Lucy and Ricky have a son named Ricky Ricardo Jr. ("Little Ricky"), whose birth was timed to coincide with Ball's real-life delivery of her son Desi Arnaz Jr.^[4]

Lucy is naive and ambitious, with an undeserved zeal for stardom and a knack for getting herself and her husband into trouble whenever Lucy yearns to make it in show business. The Ricardo's best friends, Fred and Ethel, are former vaudevillians and this only strengthens Lucy's resolve to prove herself as a performer. Unfortunately, she has few marketable performance skills. She does not seem to be able to carry a tune or play anything other than off-key renditions of songs such as "Glow Worm" or "Sweet Sue" on the saxophone, and many of her performances devolve into disaster. However, to say she is completely without talent would be untrue, as on occasion, she is shown to be a good dancer and a competent singer.

The show provided Ball ample opportunity to display her considerable skill at clowning and physical comedy. Character development was not a major focus of early sitcoms, so little was offered about her life before the show. A few episodes mentioned that she was born in Jamestown, New York (Lucille Ball's real-life home town), later corrected to West Jamestown, that she graduated from Jamestown High School, that her maiden name was "McGillicuddy" (indicating a Scottish ethnicity, though she once mentioned her grandmother was Swedish), and that she met Ricky on a blind date. Her family was absent, other than occasional appearances by her bird-brained mother (Kathryn Card), who could never get Ricky's name right. Lucy also exhibited many stereotypical female traits that were standard for comedy at the time, including being secretive about her age and true hair color, and being careless with money. She was also depicted as a devoted housewife and attentive mother.

Lucy and Ricky are mountain climbing in the Alps during their 1956 European vacation.

Lucy's husband, Ricky Ricardo, is an up-and-coming Cuban American singer and bandleader with an excitable personality. His patience is frequently tested by his wife's antics. When exasperated, he often reverts to speaking rapidly in Spanish. As with Lucy, not much is revealed about his past or family. Ricky's mother (played by actress Mary Emery) appears in two episodes; in another Lucy mentions that he has five brothers. Ricky also mentions that he had been "practically raised" by his uncle Alberto (who was seen during a family visit to Cuba), and that he had attended Havana University.

An extended flashback segment in the 1957 episode "Lucy Takes a Cruise to Havana" of The Lucille Ball–Desi Arnaz Show filled in numerous details of how Lucy and Ricky met and how Ricky came to the United States. The story, at least insofar as related to newspaper columnist Hedda Hopper, is that the couple met in Havana when Lucy and the Mertzes vacationed there in 1940. Despite his being a university graduate and proficient in English, Ricky is portrayed as a driver of a horse-drawn cab who waits for fares at a pier where tourists arrive by ship. Ricky is hired to serve as one of Lucy's tour guides and the two fall in love. Having coincidentally also met popular singer Rudy Vallée on the cruise ship, Lucy arranges an audition for Ricky who is hired to be in Vallée's orchestra thus allowing him to immigrate to the United States on the very ship on which Lucy and the Mertzes were returning. Lucy later states Ricky played for Vallée only one night before being traded to Xavier Cugat's orchestra.

Lucy is usually found with her sidekick and best friend Ethel Mertz. A former model from Albuquerque, New Mexico, Ethel tries to relive her glory days in vaudeville. Ricky is more inclined to include Ethel in performances at his nightclub because, unlike Lucy, she can actually sing and dance.

Ethel's husband Fred served in World War I, and lived through the Great Depression. He is very stingy with money and an irascible no-nonsense type. However, he also shows that he can be a soft touch, especially when it comes to Little Ricky. Fred can also sing and dance and often performs duets with Ethel.

The Manhattan building they all lived in before their move to Westport, Connecticut was addressed at a fictional 623 East 68th Street, on the Upper East Side of Manhattan. The addresses only go up to the 500s before the street terminates at the East River.

Cast[link]

Cast members from left, standing: William Frawley, Desi Arnaz, seated: Vivian Vance and Lucille Ball.

Mike (left) and Joe Mayer both played Little Ricky as a toddler.

• Lucille Ball as Lucille Esmeralda "Lucy" McGillicuddy Ricardo
• Desi Arnaz as Enrique Alberto "Ricky" Ricardo
• Vivian Vance as Ethel Mae Roberta Louise Potter Mertz
• William Frawley as Frederick "Fred" Hobart Mertz
• Keith Thibodeaux as Enrique Alberto Ricardo IV ("Little Ricky")
• Kathryn Card as Mrs. McGillicuddy — Lucy's mother
• Mary Jane Croft as Lucy's socialite school chum Cynthia Harcourt, Evelyn Bigsby (Return from Europe) later as Connecticut neighbor Betty Ramsey
• Jerry Hausner as himself
• Bob Jellison as Bobby
• Doris Singleton as Carolyn Appleby
• Shirley Mitchell as Marion Strong
• Elizabeth Patterson as Mrs. Matilda Trumbull
• Micheal and Joseph Mayer as Ricky Ricardo, Jr. as a Toddler
• Richard and Ronald Lee Simmons as Ricky Ricardo, Jr. as an infant
• Charles Lane as various characters
• Dick Reeves as various characters
• Barbara Pepper as various characters
• Bob Smith as various characters
• Frank Nelson as various characters and as Ralph Ramsey

Gale Gordon and Bea Benaderet, supporting cast members on My Favorite Husband, were originally approached for the roles of Fred and Ethel, but neither could accept owing to previous commitments. Gordon did appear as a guest star in three episodes, playing Ricky's boss, Mr. Littlefield, in two episodes, and later in an hour-long episode as a civil court judge. Gordon was a veteran from the classic radio days in which he perfected the role of the exasperated character, as in Fibber McGee and Molly and Our Miss Brooks. He would go on to co-star with Ball in all of her post–I Love Lucy series ("the Lucy show", "Here's Lucy" and "Life with Lucy"). Benaderet was a guest star in one episode as elderly Miss Lewis, a neighbor of the Ricardos.

Barbara Pepper (later featured as Doris Ziffel in the series Green Acres) was also considered to play Ethel, but Pepper had been drinking very heavily after the death of her husband, Craig W. Reynolds. Her friendship with Ball dated back to the film Roman Scandals, in which both appeared as Goldwyn Girls. She did, however, turn up regularly in bit parts.^{[citation needed]}

Many of the characters' names were after family members or close friends of Lucille Ball's; for example, Marion Strong was one of her best friends and roommate for a time in New York. Lillian Appleby was a teacher of Lucy's when she was in an amateur production on the stage. Pauline Lopus was a childhood friend, Fred was also her brother and grandfather's name. Lucy and Desi had a business manager by the name of Mr. Andrew Hickox, and in the first episode of season 4, called the "The Business Manager" Lucy and Ricky hire a man named Mr. Hickox.

Primary production team[link]

• Directors: Marc Daniels (33 episodes, 1951–53); William Asher (101 episodes, 1952–57); James V. Kern (39 episodes, 1955–57)
• Producers: Jess Oppenheimer (153 episodes, 1951–56); Desi Arnaz (exec. producer - 124 episodes, 1952–56; producer - 26 episodes, 1956–57)
• Writers: Madelyn Pugh Davis, Bob Carroll, Jr. (All Seasons including Lucy-Desi Comedy Hour), Jess Oppenheimer (Seasons 1–5), Bob Schiller, Bob Weiskopf (Seasons 5–6 and Lucy-Desi Comedy Hour)
• Original Music: Wilbur Hatch (33 episodes, 1951–54); Eliot Daniel (135 episodes, 1952–57); Marco Rizo (1951–1957)
• Cinematography: Karl Freund (149 episodes, 1951–56)
• Costume design: Elois Jenssen (57 episodes, 1953–55)
• Editors: Dann Cahn, Bud Molin

Background and development[link]

Lucille Ball had come to Hollywood in 1933, when, after a successful stint as a New York model, she was chosen by Sam Goldwyn to be one of sixteen Goldwyn Girls to co-star in the picture Roman Scandals with film star Eddie Cantor. Enthusiastic and hard-working Ball had been able to secure film work briefly at the Samuel Goldwyn Studio and Columbia Pictures and then eventually at RKO Radio Pictures. It was at RKO that Ball received steady film work, first as an extra and bit player, eventually working her way up to co-starring roles in feature films and starring roles in second rate B pictures, collectively earning the nickname "Queen of the B's". During her run at the RKO, Ball gained the reputation for doing physical comedy and stunts that most other actresses avoided, keeping her steadily employed. In 1940, Lucy met Desi Arnaz, a Cuban bandleader who had just come off a successful run in the 1939–40 Broadway show Too Many Girls. RKO had bought the film rights to the show and cast Ball as Arnaz's love interest in the picture. The duo began a whirlwind courtship leading to their elopement to Connecticut in November 1940. Despite being madly in love, however, their careers kept them separated, with Lucy's film work keeping her anchored in Hollywood, while Desi's nightclub engagements with his orchestra kept him on the road.

Despite steadily working in pictures, Lucy's movie career never advanced to the level of a headlining feature-film actress; nevertheless she remained popular with movie audiences. After receiving critical acclaim for her starring role in the 1942 Damon Runyon film The Big Street (with Henry Fonda), Ball came to the attention of MGM, which bought out her contract. It was at MGM that Ball, who had been a blonde, dyed her hair red to complement the Technicolor features that MGM had planned to use her in. MGM used Ball in a variety of films, but it was her work with funny man Red Skelton in the 1942 film DuBarry Was a Lady that brought Ball's physical comedy into the forefront, earning her the reputation as "that crazy redhead"^{[says who?]}. Nonetheless, Ball's striking beauty was in sharp contrast to physical antics she did in her films; thus, MGM tried to use her in an array of different film genres that did little to highlight her skills. Being difficult to cast, MGM chose not to renew her contract when it expired in 1946.

Ball began working as a free-lancer in films and began to explore other venues. Before and during World War II, Lucy had made several notable and successful guest appearances on several radio programs; among them Jack Haley's radio show and bandleader Kay Kaiser's radio program. These appearances brought Lucy to the attention of CBS, which in 1948 enlisted Ball to star in one of two new half-hour situational comedies in development, Our Miss Brooks and My Favorite Husband. Choosing the latter, Lucy portrayed Liz Cugat (later anglicized to Cooper), the frustrated and scheming housewife of a Minneapolis banker, played originally by actor Lee Bowman in the series pilot, and later by actor Richard Denning. Based on the novel Mr. and Mrs. Cugat by Isabel Scott Rorick, My Favorite Husband was produced by Jess Oppenheimer, written by Oppenheimer, plus scribes Madelyn Pugh and Bob Carroll, Jr.. Premiering on July 23, 1948 and sponsored by General Foods, Husband became a hit for CBS. During the run of the radio program Lucy appeared in two feature films with Bob Hope, Sorrowful Jones in 1949, and Fancy Pants in 1950. Both films were box office and critical successes, further cementing Ball's reputation as a top notch first-rate comedienne. They also showed her continuing popularity with audiences, enticing CBS to further use her skills.

In 1950, CBS asked Ball to take My Favorite Husband to television with co-star Richard Denning. She, however, saw a television show as a great opportunity to work with Desi as it would keep them both in Hollywood, and perhaps save their shaky marriage. Lucy insisted that Desi play her husband, much to the dismay of CBS. which was reluctant because Arnaz was Cuban. Network executives believed that audiences would not believe the marriage between an all-American girl and a Latin man. To prove CBS wrong, the couple developed a vaudeville act, written by Caroll and Pugh, that they took on the road with Arnaz's orchestra. The act was a hit and convinced CBS executive Harry Ackerman that a Ball-Arnaz pairing would be a worthwhile venture. At the same time, rival networks NBC, ABC, and DuMont were showing interest in a Ball-Arnaz series, which Ackerman used to convince CBS to sign the duo. A pilot was ordered and kinescoped in Hollywood in March 1951, which coincided with Lucy's first pregnancy, and the ending of Husband, which aired its last radio show on March 31, 1951. Ball and Arnaz used the same radio team of Oppenheimer, Pugh, and Carroll to create the television series that was named I Love Lucy. After showing the pilot to several advertising agencies, at first with not much luck, CBS was able to sell the series to the Milton Biow agency, which was able to convince one of their clients, cigarette giant Philip Morris, to sponsor the show.

Production

During the spring and summer of 1951, I Love Lucy moved into production. Oppenheimer, Pugh, and Davis began fine-tuning the premise of the show and writing the series' first scripts. The trio had the good graces of having a backlog of storylines from My Favorite Husband to adapt for use on television. In addition, the series' ensemble cast and crew were assembled. Desi Arnaz retained his orchestra, which was used in the series musical numbers and to score the show's background and transitional music. Arnaz's childhood friend Marco Rizo arranged the music and played the piano for the show, while Wilbur Hatch was used to conduct the orchestra. Two problems arose, however, after Philip Morris signed on to sponsor the show, that would ultimately change the fate of I Love Lucy.

With John Wayne in an episode.

Lucy and Desi had originally decided that the series would air on a biweekly basis much like The George Burns and Gracie Allen Show. Philip Morris, however, was insistent that the show air weekly, thus diminishing the possibility of Lucy continuing her film career alongside a television show. Another problem lay in the fact that Philip Morris wanted the series to originate from New York rather than Hollywood. At the time, most television shows were produced from New York with live broadcasts of the show airing for eastern and Midwest audiences. West coast viewers were only able to view live programs through low-quality kinescopes, which derived their images by using a 35 mm or 16 mm film camera to record the show off a closed-circuit television monitor. As videotape had not yet been developed, (and would not be until the mid-fifties), kinescopes were the only practical, and affordable, means to allow a live show to reach television markets on the west coast. Complicating matters was that kinescopes were not available for immediate re-broadcast as in 1951 no coast-to-coast cable system was yet in service. Shows had to be sent to Hollywood, which delayed their airings for west coast audiences by nearly a week. The process operated in the reverse for the few programs that originated live in Hollywood, such as Burns and Allen and The Ed Wynn Show, thus making blurry kinescopes of these shows the only available print for eastern audiences. Most sponsors, including Philip Morris, found this to be undesirable as most of the television audience lived east of the Mississippi at the time. Owing to the impending birth of their first child, both Lucy and Desi insisted on staying in Hollywood and producing the show on film, something a few Hollywood-based series had begun doing. Both CBS and Philip Morris initially balked at the idea, because of the higher cost that filming the show would incur, yet acquiesced only after the pair offered to take a one-thousand-dollar a week pay cut in order to cover the additional expense. In exchange, Lucy and Desi demanded, and were given, the majority ownership in the I Love Lucy films. Putting the show on film, however, would require that Lucy and Desi become responsible for producing the series themselves. Union agreements at the time stipulated that any production filmed in a studio use film studio employees. CBS staff were television and radio employees and thus fell under different union agreements. Thus, Arnaz reorganized the company he created to manage his orchestra bookings and used it as the corporation that would produce the I Love Lucy shows. Named after their ranch in Chatsworth, California, the company was named Desilu.

Though some television series were already being filmed in Hollywood, most used the single-camera format familiar from movies, with a laugh track added to comedies to simulate audience response. Arnaz and Jess Oppenheimer decided, however, that Lucy needed to work in front of an audience to create the kind of comic energy she had displayed on radio. The idea of a film studio that could accommodate an audience was a new one for the time, as fire laws made it difficult to allow an audience in a studio. Arnaz and Oppenheimer were lucky enough to find the financially struggling General Service Studios located on Las Palmas Avenue in Hollywood. Studio owner Jimmy Nasser was eager to accommodate the Desilu company and allowed them, with financial backing of CBS, to renovate two of his studios so that they could accommodate an audience and be in compliance with local fire laws.

Cinematographer Karl Freund in 1915

Another component to filming the show came when it was decided to use three 35 mm film cameras to simultaneously film the show. The idea had been pioneered by Ralph Edwards on the game show Truth or Consequences, and had subsequently been used on Amos 'n' Andy as a way to save money, though Amos n' Andy did not use an audience. Edwards's assistant Al Simon was hired by Desilu to help perfect the new technique for the series. The process lent itself to the Lucy production as it eliminated the problem of requiring an audience to view and react to a scene three or four times in order for all necessary shots to be filmed. Multiple cameras would also allow scenes to be performed in sequence, as a play would be, which was unusual at the time for filmed series. Retakes were rare and dialogue mistakes were often played off for the sake of continuity. Lucy and Desi enlisted the services of Karl Freund, an Academy Award-winning cinematographer of such films as Metropolis (1927), Dracula (1931), and The Good Earth (1937), as well as director of The Mummy (1932), to be the series cinematographer. Although at first Freund did not want anything to do with television, it was the personal plea of both Lucy and Desi that convinced Freund to take the job. Freund was instrumental in developing a way to uniformly light the set so that each of the three cameras would pick up the same quality of image.

As mentioned, audience reactions were live, thus creating a far more authentic laugh than the "canned laughter" used on most filmed sitcoms of the time. Regular audience members were sometimes heard from episode to episode, and Arnaz's distinctive laugh could be heard in the background during scenes in which he did not perform.

I Love Lucy's pioneering use of three cameras led to it becoming the standard technique for the production of most sitcoms filmed in front of an audience, though single-camera remained the technique of choice for sitcoms that did not use audiences. The process resulted in a much sharper quality of show in contrast to blurry kinescopes. This led to an unexpected benefit for Desilu during the series's second season when it was discovered that Lucy was pregnant. Not being able to fulfill the show's 39-episode commitment, both Desi and Jess Oppenheimer decided to rebroadcast popular episodes of the series's first season to help give Lucy the necessary rest she needed after she gave birth, effectively allowing fewer episodes to be filmed that season. Unexpectedly the rebroadcasts proved to be ratings winners, effectively giving birth to the rerun, which would later lead to the profitable development of the rerun syndication market.

Desilu Productions, jointly owned by Ball and Arnaz, would gradually expand to produce and lease studio space for many other shows. For seasons 1 and 2 (1951–1953), Desilu rented space and filmed I Love Lucy at General Service Studios, which eventually became known as Hollywood Center Studios. In 1953, it leased the Motion Picture Center at 846 Cahuenga Blvd. in Hollywood, and renamed it Desilu Studios to shoot seasons 3–6 (1953–1957) of I Love Lucy. After 1956, it became known as Desilu-Cahuenga Studios to avoid confusion with other acquired Desilu locations. In an effort to keep up with the studio's growth, and need for additional sound stages, Desi and Lucy purchased RKO Radio Pictures from General Tire in 1957 for over six million dollars, effectively owning the studio where they had started as contract players. Desilu acquired RKO's two studios located on Gower Street in Hollywood, and in Culver City, along with the Culver City back lot nicknamed "Forty Acres". The sale was achieved by the duo selling their ownership of the once thought worthless I Love Lucy films back to CBS for over four million dollars. In 1962, two years after their marriage dissolved, Lucy bought out Desi's shares of Desilu, becoming the studio's sole owner. She eventually sold off Desilu in 1968 to Gulf and Western, owners of Paramount Studios. After the sale, Desilu-Cahuenga became a private production company and is now known as Ren-Mar Studios. The RKO-Desilu Studio on Gower Street is now owned by Paramount while the Culver City studio has become the independently owned Culver Studios. The "Forty Acres" backlot was sold off by Gulf and Western in 1976 and redeveloped in the 1980s into an industrial tract.^[5]

The Mertzes[link]

As with My Favorite Husband, Lucy writers decided that the Ricardos needed an older couple to play off of. While doing Husband, veteran character actors Gale Gordon and Bea Benaderet had played Rudolph and Iris Atterbury, an older, more financially stable couple as Mr. Atterbury was George Cooper's (Lucy's radio husband's) boss. Ball had initially wanted both actors to reprise their roles on television, however, both were unavailable at the time the show went into production as Benaderet was already playing Blanche Morton on Burns and Allen, and Gordon was under contract by CBS to play Mr. Conklin on the radio and television versions of Our Miss Brooks.

William Frawley in 1951

Casting the Mertzes, as they were now called (the surname taken from a doctor Lucy scribe Madelyn Pugh knew as a child in Indianapolis), proved to be a challenge. Ball had initially wanted character actor James Gleason, with whom she appeared in Columbia Pictures 1949 movie Miss Grant Takes Richmond, to play Fred Mertz. However, Gleason wanted nearly $3,500 per episode to play the role, a price that was far too steep. Sixty-four-year-old Bill Frawley, a seasoned vaudevillian and movie character actor with nearly 100 film credits to his name, was a long shot to play Fred Mertz and only came into consideration after he telephoned Ball personally to ask if there was a role for him on her new show. Ball, who had only briefly known Frawley from her days at RKO, suggested him to both Arnaz and CBS. CBS balked at the idea of Frawley, fearing that his excessive drinking — which was well known in Hollywood — would interfere with his doing a live show. Arnaz nonetheless liked Frawley and lobbied hard for him to have the role, even to the point of having Lucy scribes re-tailor the role of Fred Mertz to be a less financially successful and more curmudgeonly (in contrast to Gale Gordon's Mr. Atterbury) character to fit Frawley's persona. CBS relented only after Arnaz contractually bound Frawley to complete sobriety during the production of the show, and reportedly told the veteran actor that if he ever appeared on-set more than once in an intoxicated state he would be fired. Not once during Lucy's nine seasons did Frawley's drinking ever interfere with his performance, and over time Arnaz became one of Frawley's few close friends.

Vivian Vance in 1948

Casting the Ethel Mertz character was also some work. One choice was actress Barbara Pepper, who was a close friend of Lucy's. The two had a long history together, as Pepper had been of the Goldwyn Girls who came to Hollywood with Lucy in 1933. Pepper was favored by Lucy herself, however, CBS refused on the grounds that Pepper suffered from a drinking problem that was far more severe than Frawley's. Nonetheless Pepper did appear in several bit parts during the run of the show. Vivian Vance became a consideration on the recommendation of Lucy director Marc Daniels. Daniels had worked with Vance in New York on Broadway in the early 1940s. Vance had already been a successful stage star performing on Broadway for nearly 20 years in variety of plays and in addition, after relocating to Hollywood in the late 1940s, had two film roles to her credit. Nonetheless, by 1951, she was still a relatively unknown actress in Hollywood. Vance was performing in a revival of the play The Voice of the Turtle in La Jolla, California. Arnaz and Jess Oppenheimer went to see her in the play and hired her on the spot. Vance was reluctant about giving up her film and stage work for a television show, yet was convinced by Daniels that it would be a big break in her career. Ball, however, had many misgivings about hiring Vance, who was around the same age as she, and far more attractive than the concept of Ethel as an older, somewhat homely woman. Ball was also a believer in the Hollywood adage at the time that there should be only one pretty woman on the set and Ball, being the star of the show, was it. Arnaz, however, was impressed by Vance's work and hired her. The decision was then made to dress Vance in frumpier clothing to tone down her attractiveness. Ball and Vance's relationship during the series' early beginnings were lukewarm to say the most. When Ball found out that Vance objected to the use of the word "crazy" in the show for comical purposes, as Vance felt it was inappropriate, Ball began to use the word more during tapings, even saying it during times when it was not written in the script. Eventually realizing that Vance was no threat and was very professional, Ball began to warm to her. In 1954, Vance would become the first actress to win an Emmy Award for Outstanding Supporting Actress. Vance and Ball would develop a lifelong close friendship. Ball would go on to ask Vance to co-star in Ball's new series The Lucy Show after the end of I Love Lucy.

Vance and Frawley's off-screen relationship was less successful. In spite of this, they were always professional and exhibited exceptional chemistry while performing on the show. In fact, their acrimonious personal relationship may have helped their onscreen marriage be that much funnier. Frawley derisively described Vance's appearance as "a sack of shit."^[6] It was reported that Vance, who was 23 years younger than Frawley, was not really keen on the idea that her character Ethel was married to a man that was old enough to be her father. Vance also complained Frawley's song-and-dance skills were not what they once were. Frawley and Vance would have an adversarial relationship during the entire run of the show.^[5]

In 1957, I Love Lucy was re-tailored into an hour-long show originally titled The Lucille Ball-Desi Arnaz Show that was to be part of an anthology series called the Westinghouse Desilu Playhouse. The hour-long Lucy-Desi show was to alternate on a monthly basis with other hour long Playhouse shows. The new series put a much heavier emphasis on big name guest stars as being part of the plot and although the Mertz characters continued into the new series, their roles became somewhat diminished. Although a lighter workload was welcomed by Frawley, Vance came to somewhat resent the change. In an effort to please Vance, whom he had much respect for, Arnaz proposed doing a spin-off from I Love Lucy called The Mertzes to star Vivian Vance and William Frawley. Seeing a lucrative opportunity and the chance to star in his own show, Frawley was enthused. Vance, however, declined for a number of reasons, the biggest factor being that she felt she and Frawley could barely work together on the ensemble show they were doing at the time, so it would be much less likely the two could work together on their own series. Vance also felt that the Mertz characters would not be as successful without the Ricardos to play off of, and despite being her biggest success, she was becoming interested in doing more glamorous roles instead of playing Ethel. In fact, during the thirteen episode run of the Lucy-Desi hour-long shows, Vance was given a lot more latitude to look more attractive as Ethel Mertz, something she had been denied during the run of the I Love Lucy episodes. Frawley's resentment of Vance intensified after she declined to do the spin-off show and the two rarely talked to each other outside of their characters dialogue with one another.

Years later, when Vance was on The Lucy Show and Frawley was on My Three Sons, Frawley would often bribe the eponymous sons to play practical jokes on Vance when she was rehearsing, as the two shows filmed on neighboring soundstages. It was recalled that, in 1966, when she learned of Frawley's death, Vance shouted, "Champagne for everyone!" ^[5]

Pregnancy and Little Ricky[link]

Just before filming the show, Lucy and Desi learned that Lucy was once again pregnant (after multiple miscarriages earlier in their marriage) with their first child, Lucie Arnaz. They actually filmed the original pilot while Lucy was "showing", but did not include any references to the pregnancy in the episode. This was because CBS thought that talk of pregnancy might be in bad taste and because an ad agency told Desi not to show a pregnant woman.^[7]

Later, during the second season, Lucy was pregnant again with second child Desi Arnaz, Jr., and this time the pregnancy was incorporated into the series' storyline. Despite popular belief, Lucy's pregnancy was not television's first on-screen pregnancy. That distinction belongs to Mary Kay on the late 1940s sitcom Mary Kay and Johnny.

Superman episode

CBS would not allow I Love Lucy to use the word "pregnant", so "expecting" was used instead.^[8] The episode "Lucy Is Enceinte" first aired on December 8, 1952 ("enceinte" being French for "expecting" or "pregnant"). One week later, on December 15, 1952, the episode titled "Pregnant Women Are Unpredictable" was aired (although the show never displayed episode titles on the air). The episode in which Lucy gives birth, "Lucy Goes to the Hospital", first aired on January 19, 1953. To increase the publicity of this episode, the original air date was chosen to coincide with Lucille Ball's real-life delivery of Desi, Jr. by Caesarean section.^[4] "Lucy Goes to the Hospital" was watched by more people than any other television program up to that time, with 71.7% of all American television sets tuned in, topping the 67.7 rating for Dwight Eisenhower's inauguration coverage the following morning.

Unlike some programs that advance the age of a newborn over a short period of time, I Love Lucy allowed the Little Ricky character to grow up in real time. America saw Little Ricky as an infant in the 1952–53 season, a toddler from 1953 to 1956, and finally a young school-age boy from 1956 to 1960. However, five actors played the role, two sets of twins and later Keith Thibodeaux. (In the Superman episode, Little Ricky is mentioned as 5 years old but it had only been 4 years since the birth-of-Little-Ricky episode.)

Jess Oppenheimer stated in his autobiography that deciding the sex of the Ricardo child was initially problematic. Lucy scribes initially wanted the Ricardos to have a boy, feeling that a boy would allow for more comical plot lines. Still unconvinced, Oppenheimer asked Desi what he wanted: Desi replied that he wanted a boy because this might be his only chance to have a son with Lucy. From then on, no matter what the sex of Lucille Ball's real baby was, Lucy Ricardo would have a boy.

Opening[link]

The opening familiar to most viewers, featuring the credits superimposed over a "heart on satin" image, was created specifically for the 1959–67 CBS daytime network rebroadcasts, and subsequent syndication. As originally broadcast, the episodes opened with animated matchstick figures of Arnaz and Ball making reference to whoever the particular episode's sponsor was. These sequences were created by the animation team of Bill Hanna and Joe Barbera, who declined screen credit because they were technically under exclusive contract to MGM at the time.

The original sponsor was cigarette maker Philip Morris, so the program opened with a cartoon of Lucy and Ricky climbing down a pack of Philip Morris cigarettes. In the early episodes, Lucy and Ricky, as well as Ethel and Fred on occasion, were shown smoking Philip Morris cigarettes. Lucy even went so far as to parody Johnny Roventini's image as the Philip Morris "bellhop" in the May 5, 1952, episode, "Lucy Does a TV Commercial". Since the original sponsor references were no longer appropriate when the shows went into syndication, a new opening was needed, which resulted in the classic "heart on satin" opening. Other sponsors, whose products appeared during the original openings, were Procter & Gamble for Cheer and Lilt Home Permanent (1954–57), General Foods for Sanka (1955–57), Ford Motor Company (1957–58), and Westinghouse company (1958–60).

The original openings, with the sponsor names edited out, were revived on TV Land showings, with a TV Land logo superimposed to obscure the original sponsor's logo. However, this has led some people to believe that the restored introduction was created specifically for TV Land as an example of kitsch.

The animated openings, along with the middle commercial introductory animations, are included, fully restored, in the DVDs.

Show merchandise[link]

Ball and Arnaz authorized various types of I Love Lucy merchandise. Beginning in November 1952, I Love Lucy dolls were sold. Adult-size I Love Lucy pajamas and a bedroom set were also produced; all of these items appeared on the show.

Radio[link]

There was some thought about creating an I Love Lucy radio show to run in conjuncture with the television series as was being done at the time with the CBS hit show Our Miss Brooks. On February 27, 1952, a sample I Love Lucy radio show was produced, but it never aired. This was a pilot episode, created by editing the soundtrack of the television episode "Breaking the Lease", with added Arnaz narration. It included commercials for Philip Morris, which sponsored the television series. While it never aired on radio at the time in the 1950s (Philip Morris eventually sponsored a radio edition of My Little Margie instead), copies of this radio pilot episode have been circulating among "old time radio" collectors for years, and this radio pilot episode has aired in more recent decades on numerous local radio stations that air some "old time radio" programming.

Comic book and comic strip[link]

Dell Comics published 35 issues of an I Love Lucy comic book between 1954 and 1962 including two try-out Four Color issues (#535 and #559).^[9] King Features syndicated a comic strip (credited to "Bob Lawrence" but actually written by Lawrence Nadel and drawn by Bob Oksner) from 1952 to 1955.^[10][11] Eternity Comics in the early 1990s issued comic books that reprinted the strip and Dell comic book series.

Episodes[link]

Most episodes take place in the Ricardos' modest brownstone apartment at 623 East 68th Street (40°45′51″N 73°57′17″W / 40.764226°N 73.954747°W / 40.764226; -73.954747) or at the downtown "Tropicana" nightclub where Ricky is employed, though other parts of the city are sometimes used. Later episodes take the Ricardos and the Mertzes to Hollywood for Ricky to shoot a movie, and to Europe, when Ricky and his band tour the continent. There is also a trip to Miami Beach for the two couples, with a side trip to Ricky's homeland of Cuba. Eventually, like millions of other Americans in the late 1950s, the friends move to the suburbs, in this case, to Westport, Connecticut.

Some especially memorable episodes:

• "Lucy Does a TV Commercial": Lucy is hired to act as the "Vitameatavegamin girl" in a television commercial, to promote a health tonic that contains healthy amounts of vitamins, meat, vegetables, minerals — and a less-than-healthy dose of 23% alcohol. Lucy becomes progressively drunker throughout rehearsal, but gamely keeps on pitching the product, eventually leading to a completely flubbed live performance for "this stuff." In October 2005, fans voted this episode as their favorite, during a 60th anniversary I Love Lucy television special. TV Guide and Nick at Nite ranked it the second greatest television episode of all time, after the Mary Tyler Moore Show episode "Chuckles Bites the Dust". (original air date May 5, 1952)
• "Job Switching": Lucy and Ethel get jobs packaging candy that is delivered on a conveyor belt. The work seems easy enough when they are shown what to do by their supervisor, but then the pace picks up and the women soon fall further and further behind. In desperation, they resort to comical means to try to keep up. The skit, a variation of an old vaudeville routine, has been parodied numerous times. (original air date Sept 15, 1952)
• "Lucy and Superman": Lucy tries to get George Reeves, star of the 1950s Adventures of Superman television series, to appear at little Ricky's birthday party. When she fails, she dresses up as Superman herself, only to have Reeves turn up in costume at the last minute and rescue her after she traps herself on the ledge of her apartment. As Superman brings Lucy back to the window of her apartment, Ricky is furious, and at one point yells, "...In all of the fifteen years we've been married..." Then Superman says, "You mean to tell me that you've been married to her for fifteen years?" Ricky answers, "Yeah, fifteen years." Superman replies, "And they call me superman!" Reeves stays in the character of Superman throughout the episode. (original air date Jan 14, 1957)
• "L.A. At Last!": Lucy, Fred, and Ethel have lunch at The Brown Derby, a restaurant frequented by Hollywood film stars. A nervous Lucy accidentally causes a waiter to heave a pie in William Holden's face. Later at the hotel, Ricky has a surprise for her. He has brought one of her favorite actors to meet her — none other than William Holden. Fearing that the actor will recognize her, she puts on a disguise that includes a putty nose, which catches on fire when she lights a cigarette. This episode was reportedly Lucille Ball's favorite episode. (original air date Feb 7, 1955)
• "Harpo Marx": While living in Hollywood, Lucy is visited by Carolyn Appleby, a friend who is under the impression that Lucy knows numerous celebrities. After Lucy and Ethel get Carolyn's glasses away from her, Lucy pretends to be various stars. Meanwhile, Ricky and Fred invite Harpo Marx to the Ricardos' apartment. When he shows up, Lucy is disguised as him; seeing the real Harpo, she hides in a kitchen doorway. Harpo is perplexed when he sees what he thinks is his reflection, forcing Lucy to mimic his every move to avoid detection. This was a tribute to Harpo and Groucho's famous mirror scene in the Marx Brothers comedy classic, Duck Soup.^[12] (original air date May 9, 1955)
• "Lucy's Italian Movie": In this episode, Lucy spontaneously decides to visit a local Italian winery. She is completely taken aback when she arrives at the winery, is mistaken for one of the workers—a wine stomper—and ends up in a gigantic grape vat where she has the fight of her life. She literally "gets some local color!" (original air date April 16, 1956)
• "Lucy Does the Tango": The Ricardos' and the Mertzes' chicken business is not doing very well. Lucy and Ethel come up with a scheme to fool the boys into thinking the hens are laying lots of eggs by smuggling some, hidden underneath their clothes, into the henhouse. On one such trip, Ricky insists that he and Lucy rehearse their tango number for a local benefit. Unbeknown to Ricky, Lucy's blouse is filled with chicken eggs. The climax of this scene provoked the longest laugh from a studio audience in television history.^{[citation needed]} (original air date Mar 11, 1957)
• "The Black Wig": Lucy thinks Ricky is not paying enough attention to her and might be tempted to see other women. Lucy's hairdresser, Eve McVeagh, fixes her up in an Italian style black wig. Lucy uses this opportunity to pretend to be someone else that can tempt Ricky. Ricky, of course, recognizes her in this poor attempt at a disguise but acts as if he believes she really is another woman and asks her on a date. The joke is on Lucy, and her plan does not work out the way she wants. (original air date April,19 1954)

Feature films[link]

Arnaz and Ball capitalized on the series' popularity by starring in Vincente Minnelli's 1954 film The Long, Long Trailer as Tracy and Nicky Collini, two characters very similar to Lucy and Ricky. Also during this time, Desilu produced a feature film version of the show in 1953, consisting of three first-season episodes edited together: "The Benefit", "Breaking the Lease" and "The Ballet". New scenes featuring the cast were filmed and put between the episodes to tie them into one cohesive story. MGM, however, demanded the I Love Lucy movie be shelved because they felt it would diminish interest in The Long, Long Trailer. Although I Love Lucy was never theatrically released and had been forgotten, it has since been found and has been released on the bonus disc in the Complete Series collection.

In 1956 Lucy and Desi starred in the feature film Forever, Darling with James Mason.

[edit] After Lucy and legacy

After the conclusion of the sixth season of I Love Lucy, Lucy and Desi decided to cut down on the number of episodes that were filmed. Instead, they extended I Love Lucy to 60 minutes, with a guest star each episode. They renamed the show The Lucille Ball-Desi Arnaz Show, also known as The Lucy-Desi Comedy Hour. Thirteen hour-long episodes aired from 1957 to 1960. The main cast, Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley and Keith Thibodeaux were all in the show. The Lucy-Desi Comedy Hour is available on DVD, released as I Love Lucy: The Final Seasons 7, 8, & 9. On March 2, Desi's birthday, 1960, the day after the last hour-long episode was filmed, Lucille Ball filed for divorce from Desi Arnaz. It made that playful, yet passionate kiss at the end of the final episode, which aired April 1, "Lucy Meets the Moustache", all the more poignant, as the world already knew that this storied Hollywood marriage was all but over, and also lent extra meaning to the use of the song "That's All" in that episode.

As mentioned Vance and Frawley were offered a chance to take their characters to their own spin-off series. Frawley was willing, but Vance refused to ever work with Frawley again since the two did not get along. Frawley did appear once more with Lucille Ball — in an episode of The Lucy Show in 1965, which did not include Vance (who by then had ceased to be a regular on that show). However, this was his last screen appearance with his longtime friend. He died in Hollywood on March 3, 1966 of a heart attack at age 79.

In 1962, Ball began a six-year run with The Lucy Show, followed immediately in 1968 by six more years on yet another sitcom, Here's Lucy, finally ending her long run as a CBS sitcom star in 1974. Both The Lucy Show and Here's Lucy are notable for having Vance as recurring characters named Viv (Vivian Bagley Bunson on The Lucy Show and Vivian Jones on Here's Lucy), so named because she was tired of being recognized on the street and addressed as Ethel. Vance was a regular during the first three seasons of The Lucy Show but continued to make guest appearances through the years on The Lucy Show, and on Here's Lucy. In 1977, Vance and Ball were reunited one last time in the CBS special, Lucy Calls the President,^[13] which co-starred Gale Gordon.

In 1986, Ball tried another sitcom, Life with Lucy. The series aired on ABC for eight episodes before being canceled owing to low ratings. However, the show debuted to very high ratings, landing in Nielsen's Top 20 for that week.

I Love Lucy has remained perennially popular. For instance, it was one of the first programs made in the USA seen on British television, which became more open to commerce with the launch of ITV, a commercial network that aired the series, in September 1955. As of July 2007, it remains the longest-running program to air continuously in the Los Angeles area, almost 50 years after production ended. However, the series is currently aired on KTTV on weekends and now KCOP on weekdays because both stations are a duopoly, of which KTTV had given up the CBS affiliation several months before I Love Lucy premiered.^{[citation needed]} In the US, reruns have aired nationally on TBS (1980s–1990s), Nick at Nite (1994–2001) and TV Land (2001–2008) in addition to local channels. TV Land ended its run of the series by giving viewers the opportunity to vote on the show's top 25 greatest episodes of all-time on December 31, 2008 on the network's website. This is particularly notable because, unlike some shows to which a cable channel is given exclusive rights to maximize ratings, Lucy has been consistently—and successfully—broadcast on multiple channels simultaneously. Hallmark Channel is now the home for I Love Lucy in the United States, having moved to the network on January 2, 2009, while the national version of Weigel Broadcasting's Me-TV digital subchannel network has carried the program since its debut in December 15, 2010, depending on the market (in markets where another station holds the rights, The Lucy Show is substituted). The show is seen on Fox Classics in Australia.

The Lucille Ball-Desi Arnaz Center in Jamestown, New York is a museum memorializing Lucy and I Love Lucy, including replicas of the NYC apartment set (located in the Desilu Playhouse facility in the Rapaport Center).^[14]

"Weird Al" Yankovic's debut album features a song called "Ricky" (a parody of Toni Basil's "Mickey"), detailing the plot of I Love Lucy.

An episode of That '70s Show has a segment with Donna and Fez as Lucy and Ricky, and Red and Kitty as Fred and Ethel.

Theme song[link]

The title music was written as an instrumental. Lyrics, sung by Desi Arnaz, were written for the episode "Lucy's Last Birthday":^[15]

I love Lucy and she loves me.
We're as happy as two can be.
Sometimes we quarrel but then, ha-ha-ha...
How we love making up again.

Lucy kisses like no one can.
She's my missus and I'm her man,
And life is heaven you see,
'Cause I love Lucy, Yes I love Lucy, and Lucy loves me!

The song was covered by Michael Franks on the 1993 album Dragonfly Summer. In the 1970s, the Wilton Place Street Band had a top-40 hit with a disco version of the theme, Disco Lucy.

Broadcast History[link]

I Love Lucy aired Monday at 9:00-9:30 PM on CBS its entire run.

Nielsen ratings[link]

I Love Lucy ranked highly in the Nielsen ratings throughout its entire run.

NOTE: The highest average rating for the series is in bold text.