“No idea.” THE RENAISSANCE MAN MEETS SEÑOR NAUGLESĪfter producer Carl Reiner folded the tent on the Van Dyke show in 1966 (he wanted to go out on top), Deacon was cast as the bombastic husband of Kaye Ballard in the second season of the NBC sitcom, The Mothers-In-Law. Hadleigh wrote that Deacon gave a little shrug. “Do you think within the industry it’s known you’re gay?” Heterosexual, now and then - if the part’s bigger than usual.” “Have you ever been cast as gay?” Hadleigh asked.
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Only because what you see on TV - a serious guy in a suit, unsmiling– isn’t how anyone thinks of gay males.” When Hadleigh asked if he thought any of the public assumed he was gay, Deacon shook his head. If I get spray-painted, like on Lucy, it’s funny as long as I don’t act as if I think it’s funny.” For instance, if a female character finds me sexy and chases me, it’s funny because I’m no sex symbol at all. It’s a gift few have… I learned the only way I could get laughs was through a situation. He can ridicule somebody just by looking at them.
“Paul only has to look at someone and he’s funny.
“I’m nearly the opposite of Paul Lynde,” Deacon told Boze Hadleigh in that interview in the late 1970s for the book, Hollywood Gays. The papers described the pair as “friends.”) To the public, they were simply “confirmed bachelors.” (Lynde’s sexuality wasn’t even made an issue when in July 1965, after a night of drunken revelry, a young actor fell to his death from the window of Lynde’s eighth-floor room at the Sir Francis Drake Hotel in San Francisco. Bellows on I Dream of Jeannie) and Dick Sargent (the “second Darren” on Bewitched), but also flamboyantly camp performers like Charles Nelson Reilly and Paul Lynde (Jim Nabors of Gomer Pyle, U.S.M.C. That was the case with buttoned-down types like Hayden Rorke (Dr. In Hollywood in the 1960s, life was played out in the shadows for Deacon and other gay actors who often played heterosexual husbands and fathers on television and movies. Off camera, offstage, he was not a straight man. Mel Cooley kissed Alan Brady’s ass, while serving as the constant butt of jokes and insults by gag writer Buddy Sorrell (played by Morey Amsterdam). Richard Deacon was Mel Cooley, Brady’s brother-in-law and the show’s pompous, prissy-“unctuous”-producer.
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Van Dyke played Rob Petrie, head writer of a comedy-variety series called The Alan Brady Show. Tall, balding, wearing glasses and usually a suit and tie, he was not at all flamboyant, but a suburban Dave Berg character come to life.ĭeacon was still in the Beaver cast when he stepped into his career-defining role on The Dick Van Dyke Show in October 1961. Fred was an annoyance to his neighbor and co-worker, Beaver’s dad Ward Cleaver. The series premiered on CBS on October 4, 1957, and switched over to ABC in its second season, where it remained until its final episode aired on June 20, 1963. Not at all flamboyant.” Richard Deaconĭeacon had a long career in television and films by the time a generation of kids got to know him as Fred Rutherford, Lumpy’s father on Leave It To Beaver. My character always represents the Establishment. I’ve been called every adjective - smug, lugubrious, unctuous, bland, you name it. “I’m nearly always an executive of some sort, in suit and tie, and somebody always pricks my bubble of dignity. “As a straight man, I’m hired for my buttoned-down quality,” he told author Boze Hadleigh.
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What follows are the stories of three of them, actors whose roles were well-defined and brilliant in their simplicity, but whose personal lives were more complicated, full of compromising relationships, situations and positions. They, along with other favorite sitcom characters, were influences on American punk culture and today are looked upon as pioneers. Even kids planted in front of the television sets in the 1960s knew there was something “funny” about Uncle Arthur and Claymore Gregg. Most did not “come out” officially, but there was no need. But along with political activists and social revolutionaries, there were a number of entertainers who, in the decades surrounding the rebellion, brought a clear, if often exaggerated, gay presence into American homes. With this year’s Gay Pride Month marking the fiftieth anniversary of the uprising at the Stonewall Inn in Greenwich Village, the accomplishments of LGBT heroes of the past fifty years have been widely celebrated.
In a way, though, they helped to blaze trails for which they were never given credit. The faces of these three actors were familiar to Baby Boomers raised on TV situation comedies.