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EPISODE NOTES

In the first and second season of The Muppet Show, whenever the camera cuts to the audience, they show a few rows of seats. (The "house set" was expanded a little more for the Steve Martin episode.) Since it was easy enough to populate the audience with whatever Muppets or action they desired for a particular scene, the show could always tape a special "audience scene" as opposed to a "stock footage" audience shot, making it possible for the house to be full of chickens or singing along and waving handkerchiefs to a song, or having a particular Muppet sit in the audience like Fozzie's cousin. That technique is used here with Fozzie's mom for the first (and only) time, when the camera cuts to her watching the show, they show her in an upper balcony level instead of the usual row of chairs set used for the audience. The intent was probably so they could still insert stock footage shots of the audience applauding where it wouldn't look weird that Fozzie's mom has disappeared because it's a shot of a different area. However there aren't any other audience shots in this episode.

Among the "better known" Muppets in the balcony section watching around Mrs. Bear are Bunsen Honeydew and Bobby Benson.

Fozzie's mom would appear later in The Muppet Show in a cameo appearance and also be seen in post-Muppet Show specials where "Emily Bear" became more a developed character ("Muppet Family Christmas", "Muppets At Walt Disney World"). She makes her film debut in "The Muppet Christmas Carol".

Fozzie's phrenology act is this year's "Comedian is a Bear" in that for a change the comedy bit is a routine between Fozzie and Kermit and ends up being one of the funniest Fozzie bits of the season.

Bruce Schwartz also does a guest spot in season 5's Senor Wences episode.

PRODUCED BY Jim Henson

WRITTEN BY Jerry Juhl, Joseph A. Bailey, Jim Henson and Don Hinkley

DIRECTED BY Peter Harris

THE MUPPET PERFORMERS FEATURING Frank Oz (Animal, Fozzie, Miss Piggy)

with Jerry Nelson (Baskerville, Floyd, Strangepork, Robin)

Richard Hunt (Scooter, Statler, Janice)

Dave Goelz (Gonzo, pig, Zoot)

Jim Henson (Kermit, Waldorf, Dr. Teeth, Link, Rowlf, Swedish Chef)

[uncredited] Louise Gold (Kaftan)

GUEST PUPPETEER: Bruce D. Schwartz

PUPPETS AND THEIR COSTUMES BY Caroly Wilcox, Mari Kaestle, Dave Goelz,
John Lovelady, Amy Van Gilder, Calista Hendrickson, Faz Fazakas, Larry
Jameson and Bonnie Erickson

SPECIAL PUPPETS BY Don Sahlin

MUPPET CREATIVE CONSULTANTS: Frank Oz, Michael K. Frith

MUSIC CONSULTANT: Larry Grossman

ART DIRECTOR: David Chandler

ORCHESTRA CONDUCTED BY Jack Parnell

MUSICAL ASSOCIATE: Derek Scott

LIGHTING DIRECTOR: Phil Hawkes

AUDIO: Ted Scott

VIDEO TAPE EDITOR: John Hawkins

ASSISTANT TO THE PRODUCER: Sue Taylor

SENIOR FLOOR MANAGER: Richard Holloway

FLOOR MANAGER: Martin Baker

STAGE MANAGER: Sara Paul

SENIOR VIDEO ENGINEER: Jim Reeves

SENIOR CAMERAMAN: Mike Whitcutt

VISION MIXER: Moyra Bird

COSTUMES BY James Dark

MAKE-UP BY Marion Phillips

THEME MUSIC: Sam Pottle

EXECUTIVE PRODUCER FOR HENSON ASSOCIATES, INC.: David Lazer

Cleo Laine - Episode 40

Taping Dates: Week of November 8, 1977
Original Airdates: May 15, 1978 (New York) and May 27, 1978 (LA)
DVD Release: Buena Vista Home Video, 2007

GENERIC INTRO: ROWLF

Brian Henson: "Hi, I'm Brian Henson. Not many people know that Rowlf the Dog was actually the Muppets first network television star. Rowlf was originally built for a Purina Dog Food commercial. But he later gained fame with weekly appearances on The Jimmy Dean Show in the 1960's. Back then Rowlf was a quiet philosopher with a lot of punch lines."

"When The Muppet Show came along Rowlf became known more for his piano playing expertise. Kermit was my father's best known character, but a lot of people think he was more like Rowlf in real life except he couldn't play the piano as well. Here is another classic episode of The Muppet Show."

DRESSING ROOM

Animal boosts Cleo's ego.

OPENING

Balcony: Statler & Waldorf peek out from behind the side curtains.

Gonzo's horn: The horn flies away from Gonzo! [For some reason, the first season Gonzo puppet is used here.]

CURTAIN

Fozzie takes it upon himself to "share" the intro with Kermit since his mother is watching the show in the audience tonight.

OPENING NUMBER - "LIMBO"

A calypso number featuring a limbo stick...Baskerville seems to beat Boppity and Gloat until Kermit takes a crack at it...scrunching himself down and staying that way.

BALCONY

STATLER: Terrific! I wonder how the frog did it.

WALDORF: (Scrunches himself down in like fashion and limbos under Statler's arm) Doo doo doo doo doo doo - do what? Heh heh heh.

STATLER: Never mind.

BACKSTAGE

The cast exit offstage still playing steel drums [the music is the same music that begins the "Pig Calypso" number in the Bob Hope episode]. Fozzie's concerned that he wasn't in the opening number but Kermit could care less being that he's still scrunched up! Fozzie "inflates" Kermit back up by using his arm like a pump!

CURTAIN

Fozzie pushes Kermit out of the way and introduces Cleo Laine.

MUSICAL NUMBER - "AIN'T GOT THAT SWING"

Cleo cooks on the jazz classic and takes some time out to individually acknowledge each member of the Electric Mayhem.

ZOOT: A zebra and a geranium should never use the same toothbrush!

BACKSTAGE

Fozzie figures it must be time for him to go on by now but Pigs In Space is up next.

FOZZIE: Kermit - please at least let me be in Pigs In Space.

KERMIT: Uh - you can't.

FOZZIE: But why can't I be in Pigs In Space?

KERMIT: BECAUSE YOU'RE NOT A PIG!

PIGS IN SPACE

Captain Link calls the crew together for an inspection. Fozzie enters with a group of pigs dressed in a Pigs In Space outfit and long blond wig!

LINK: Now I want this entire ship swabbed down from stem to uh...from stem to uh...uh uh...the back part.

STRANGEPORK: That's 'stern', Captain.

LINK: You BET that's stern!

Link berates First Mate Piggy for not shaving this morning in between Fozzie's mugging and Piggy like French. Captain Link dismisses the crew with the exception of "Piggy"...who he wishes to smooch with!

BACKSTAGE

Fozzie finds himself being chased by both Link and Miss Piggy and talks them into venting on the frog as he slips away to the stage...

CURTAIN

FOZZIE: Hiya hiya hiya! Hi, Ma! Looks like it's just you and me for the rest of the evening folks! Thought I'd come out and tell a few jokes, sing a few songs...

KERMIT: Fozzie - will you get off the stage!

FOZZIE: Uh, that too! Yes yes...

Once the stage is bare, Kermit introduces special guest puppeteer Bruce Schwartz.

BRUCE SCHWARTZ

The guest performer demonstrates some Japanese influenced puppetry with a delicate ballerina doll.

BALCONY

WALDORF: Oh that puppet looked so alive!

STATLER: Well, that's more than I can say for you.

UK SKIT: MUSICAL NUMBER - "MAD DOGS AND ENGLISHMEN"

Rowlf, Baskerville, and a Kaftan dog sing some music hall.

BACKSTAGE

Fozzie keeps demanding to know when he's going on...even though he's already "been on" practically everything so far!

SWEDISH CHEF

Cleo Laine approaches The Swedish Chef after he finishes his introductory theme. She says he looks like an understanding person and may be able to help her...then she bursts into song singing "You're Just In Love". The Swedish Chef accompanies her with her song as Cleo lends a hand to his salad.

BALCONY

WALDORF: Well I just learned something about The Swedish Chef I didn't
know before.

STATLER: What's that?

WALDROF: Cooking is the SECOND worst thing he does.

CURTAIN

Fozzie peeks out from behind the curtain to see if it's finally time for
him.

FOZZIE'S COMEDY SPOT

Since it's a special night, Fozzie has a special act - phrenology...the art of reading someone's fortune by feeling the bumps on his head using Kermit as an unwilling volunteer. After scrunching Kermit around almost as much as in the opening number, he improves on the frog's intelligence bumps...with a sledgehammer.

CURTAIN

Robin fills in for his uncle who's chasing Fozzie after being no friend to phrenology.

CLOSING NUMBER - "IF"

Cleo provides the soaring vocals as puppeteer Bruce Schwartz provides the moving visuals of a grieving lover.

[The set design here is particularly effective as the centerpiece is a tiered row of white steps which Cleo sits on. This doubles in image as a wedding cake that the doll-like puppets perform atop.]

CURTAIN

Fozzie checks up to his mom to see how she enjoyed the show to discover she's fast asleep.

CLOSING

WALDORF: Well shall we call it a night?

STATLER: Might as well. Certainly wouldn't call it a show.

Guide Written by
D. W. McKim and Phillip Chapman

Video Captures by
Alex Taylor

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