The Relentless Persistence and Subsequent Success of Buddy Ebsen

2nd Choice+ 2nd Chance + Perseverance = 1st Rate Success

The preceding is the mathematical equation for the accomplishment that Buddy Ebsen solved and re-solved for 70+ years in his career in the entertainment industry.

From the time dancers Buddy Ebsen and his sister, Vilma, found acclaim as a brother and sister dance team in 1930, it was a whirlwind of exhilaration and success, only to be followed by an avalanche of disappointment and failure to achieve the dreams the young siblings had hoped to accomplish—together. After all, Buddy had arrived in New York in August 1928, and was fired his first week on the job, for being too tall in a chorus. Undefeated, Buddy pursued his goals to make it onto the New York stages as a dancer.

After achieving success sufficient to call for his sister, Vilma, to join him, the world was just about to become their oyster. Billing themselves as the Baby Astaires, one rave paragraph from the New York Daily Mirror’s powerful syndicated columnist Walter Winchell in 1930 found them swamped with over 90 offers for the couple to perform in clubs nationwide. Success was achieved for the devoted duo, ultimately leading to being signed by MGM studios for musicals.

The excitement over “Broadway Melody of 1936” found the duo teamed with Eleanor Powell and the movie led them to hope for even more success in films. Despite having caught the eye of famed director Charles Walter for being a beauty and a dancer, MGM no longer wanted Vilma, just Buddy. Crossroad number one. A decision was made for Buddy to go it alone. Vilma’s life would turn out “just fine” and she was deemed happy to have found two loves of her life, with two children to adore, and a modicum of delightful memories that co-owning and operating a California dance studio would bring. Buddy’s solo parts were great, but secondary, roles.

Buddy married his first wife, Ruth Cambridge in 1933, and they had two daughters, Elizabeth (Libby, d. 2002) and Alexandra (Alix). At 6’3” and limber, he developed a reputation for “eccentric dancing,” a unique genre. The thrill of a lifetime came in 1938 when Buddy was told by Arthur Freed that he was a “sure thing” for the part of the Scarecrow in an upcoming film, “The Wizard of Oz,” that MGM meant to give Disney’s 1937 “Snow White” a little competition in the fantasy genre. For once, Buddy allowed himself a moment to soak in the euphoria of success. It didn’t last.

When Ray Bolger appeared on the studio lot, Buddy knew immediately he’d never last in the role of the Scarecrow. He was right. Bolger got that part. However, there was a second-chance role for Ebsen—the Tin Man. The euphoria at being “saved” didn’t last long. After 10 days of filming on the “Oz” set, Ebsen succumbed to a toxic reaction when pure aluminum powder coated his lungs, almost asphyxiating him, and landed him in the hospital for weeks.

Miraculously, Ebsen recovered, but had lost the Tin Man part to Jack Haley, Jr. Ebsen’s involvement in the iconic project would remain unknown for 50 years. Buddy’s marriage to Ruth ultimately ended in January 1945. He didn’t speak of either disappointment to his family, he just followed the words of Pres. Calvin Coolidge, “Press on.”

The U.S. entry into World War II meant the enlistment of a patriotic Ebsen into the U.S. Coast Guard, having failed to get into the U.S. Navy (his first choice). His Coast Guard service would lead him to meet the second woman of his dreams, Nancy Wolcott, whom he would make his wife six days after the end of World War II. Fourteen months later, their first son, Christian Ebsen, III, would be born, but live only 22 days. The tragic loss presented the young couple with a new crossroad: would they continue to build a family? Three daughters later, Susannah (d. 2019), Cathy, Bonnie, Buddy was finding work acting in “B” westerns mostly, until 1954, when Walt Disney director Norman Foster recommended to Walt Disney that Buddy portray “Davy Crockett” in a series Walt was planning.

At long last Buddy might just have that starring role, but legend has it that James Arness was Walt’s first casting idea.

Until Walt Disney happened to see a Warner Brothers sci-fi film, “Them!” featuring James Arness, and in one scene was a young unknown named Fess Parker, whose plane goes down as UFOs that look like giant ants takes him out, and Fess comes unraveled.

Forget James Arness, forget Buddy Ebsen, Walt chooses Fess Parker as Davy Crockett. Buddy’s hopes of starring are again dashed. The phone rings the next day, though; seems Davy has a best friend, George Russel, and Buddy gets second billing (again). [Right: Fess Parker and Jim Arness in "Them."]

Not long after Buddy becomes a Walt Disney go-to for many things, last daughter Kiersten (Kiki), and son Dustin are born, and the Ebsen family had three age groupings with Kiki and Dusty as young children only knowing Dad as a TV star. Wasn’t everyone’s Dad on TV?

Time and fate would be kinder to Buddy. Television producer/creator Paul Henning saw Buddy on a TV show playing a backwoods hillbilly, and created the part of “Jed Clampett” specifically for Buddy, who—legend has it—had to be talked into the idea for the role by his agent, Jimmy McHugh, and Henning. During the nine-season run of “The Beverly Hillbillies,” a show consistently at the top of the Nielsen ratings, the show was frequently rated #1 each week.

In 1968, mid-Hillbillies, Buddy sailed and crewed his catamaran, "The Polynesian Concept," past James Arness’s “Seasmoke,” as he won the 2,400-miles Transpacific Multi-Hull Ocean race in 1968. Buddy came in first…again.

After CBS Programming Chief Fred Silverman pulled “rural shows” (“The Beverly Hillbillies,” “Green Acres,” “Petticoat Junction,” and “Mayberry RFD”) from its weekly lineup to seek a so-called highbrow audience, Buddy thought about retiring. But he was still young, at age 63. Meanwhile across town, producer Quinn Martin had scored weekly hits with “The FBI,” (1965–1974) and “The Fugitive” (1963–1967) and in 1972 Buddy’s agent got a call that Quinn was looking to stage a new detective show and was interested in him for the title role. [Photo: Quinn Martin gets his star on Hollywood's Walk of Fame, on the North side of the 6600 block of Hollywood Boulevard.]

Producers looking at Buddy in starring roles was now the new trend, for a pleasant change. Given that Quinn Martin had a plethora of detective procedurals running, Ebsen hesitated…until he heard that the character actually brought something new to the screen—a “foxy grandpa solving crimes”…that did the trick.

As “Barnaby Jones” from 1973–1980, Buddy Ebsen achieved acclaim and fame far surpassing his roles in Vaudeville, MGM films, Hollywood “B” westerns, and even the successful “Moon River” part as “Doc Golightly.”

After “Barnaby,” costarring with the beautiful Lee Meriwether and featuring newcomer Mark Shera, Ebsen did some stage plays at home, and began writing.

In 1984, Buddy was called to portray a character of “Uncle Roy” for ABC’s “Matt Houston,” a Texas oilman turned private eye, in a series created by Lawrence Gordon and produced by Aaron Spelling of prime-time drama fame. The series starred Lee Horsley and Pamela Hensley and gave Buddy another season of appearing in people’s homes each week in 1984-1985.

As fate would have it though, producer/creative Ron Howard wanted to cast Buddy in a new film he was making and because of contractual obligations to “Matt Houston,” Buddy couldn’t participate. During his 1986 acceptance speech for the Oscar, actor Don Ameche thanked Buddy Ebsen “for not being available to play the role” that Ameche would inherit. Another substantial potential honor lost, because of fate and the luck of the draw.

Parts won, parts lost, fame and fortune was always fleeting for anyone in the entertainment business. It’s one of the riskiest businesses outside of Wall Street. And yet, the rewards for any artist are not built around, nor are they measured by, numbers, statistics, awards, or intangibles. [Photo: Ron Howard surrounded by his cast of "Cocoon," the film he directed that was supposed to feature Buddy Ebsen, who could not appear because of his contractual obligation to his season in the TV show, "Matt Houston."]

Every day, if you do what you love, if you work with people you love, if you have the freedom to make your own plans or schedule, find a group of people who think in sync with the way you believe you want to approach a project, then you have arrived at success in life. The secret to Buddy Ebsen’s success was relentless perseverance of his goals, his ambitions, his dreams, and his ability to tune out the naysayers, to weed through the false or temporary friends, to find the highest caliber of agents and representatives who believed in him and fought for him, and in his own skill to bring his best to any project he was involved in.

“To Dad with Love: A Tribute to Buddy Ebsen” is a love song, written by his youngest daughter Kiki, to honor her dad’s spirit, his dreams, and his accomplishments during his lifetime. There was a costly price Buddy had to pay to be led by his artistic muse but it was not a permanent cost.

His relationship with Ruth created two daughters and brought him joy during the first phase of his career in New York; his relationship with Nancy created two sons and four daughters and brought him more family during the second phase of his career in Los Angeles. His marriage to his third wife and widow Dorothy provided joy during the third phase of his career, as a painter, writer, and bon vivant in a world whose bright lights he’d mostly had abandoned while raising his family. Fame, acclaim, and contentment were ultimately his, and after a lifetime of sacrifices, losses, near hits, near misses, and total obscurity for a time, the one thing that remained about Buddy Ebsen was his indefatigable spirit.

It is that same spirit which flows through the pen of his daughter Kiki, that resonates through her voice when she sings, through her limbs as she dances, and through his son Dustin when he assembled the photographic storyboard of seven decades of his father’s life. If he had only one thing to offer all of his children besides his love it was his soulful spirit of joy in working in the entertainment industry.

Kiki learned from him that no one hands you anything. You work to make your own opportunities. You persevere even when people shake their heads or don’t share your dreams. And you create new art because you must. It’s there to be created. All you have to do is allow the messages to come through and to present your very best self, surrounded by people who love, honor, trust, and regard you as a working professional artist.

StKi Productions, LLC Presents: "To Dad with Love: A Tribute to Buddy Ebsen" runs at Theatre West, 3333 Cahuenga Blvd., Los Angeles, CA. For tickets, visit BuddyEbsenTribute.com or theatrewest.org

“Remember, that of all the elements that comprise a human being, the most important, the most essential, the one that will sustain, transcend, overcome and vanquish obstacles is—Spirit!” ~~Buddy Ebsen

Reflections on “Sizzling Cold Case” (The Legend of Lori London) — A Barnaby Jones Novel (by Buddy Ebsen with Darlene Quinn)

The original plan for the book “Sizzling Cold Case,” by Buddy Ebsen with Darlene Quinn, was originally intended to be a teleplay, but author Buddy Ebsen also realized it could be a standalone book as well. He’d filled many yellow legal pads with his handwritten prose (his favored way of writing) with exactly that dual intent, before he became ill and died on July 6, 2003 at age 95. His widow, Dorothy Ebsen, was determined to share his final book with all who loved him, as her collective gift to her husband’s fans. Enter family friend and author Darlene Quinn, who was clearly the right person to take Buddy’s manuscript and complete it.

This information was learned from listening to a recent interview shared on Kiki Ebsen’s web site, “Buddy Ebsen Birthday Chat,”—a lovely discussion between Kiki, Dorothy Ebsen and Darlene Quinn. They reminisced over some great memories, and shared some insight on the book. First published in hardback, and later in paperback and for Kindle, there’s an entirely new format that caught my eye, or ear, rather—audiobook.

Chalk it up to a nice quality of William E. Fortier’s voice as narrator, but while listening, it was so easy to visualize the old television show “Barnaby Jones” episodes I used to watch that I thought I was right back in the 1970s waiting for the familiar theme by Jerry Goldsmith to come on and open the CBS weekly program.

As you hear the theme, you see the puzzle piece-type squares coming together to read “Barnaby Jones, A QM Production,” and the opening photo of Buddy dressed in a blue suit and tie that compliments his eyes. Remember, he’s reading a report at his desk? I listened to the announcer, Henry F. (Hank) Simms, saying “Barnaby Jones, starring Buddy Ebsen” followed by “Also starring, Lee Meriwether” followed by his saying “with Guest Stars”…and then at the very end, you could see the final “A QM Production” slate again.

From the very opening chapter (there are 66 of them) in the book, you’re pulled back into Barnaby’s reminiscence of how his son, Hal, had been murdered, and now a thread from the past introduced a connection to understanding what really happened in what would be Hal’s last case that he was working on before his death. The reopening of the Lori London case began immediately.

Hearing the scene describing a location familiar to everyone who lives in or has toured Los Angeles…the iconic Walk of Fame on Hollywood Boulevard. It is there where Barnaby surveils someone putting a single rose on the star of the late actress Lori London, whose life story is central to the theme of the book and whose passing was previously considered a suicide, when Barnaby’s late son, Hal, didn’t believe that for a minute. Barnaby takes up where Hal left off, even though it had been a few years since he’d been active.

Also, watching this event from a different purview is a newly christened detective, Craig Scott, and then the story takes off. A red Ferrari driven by a gentleman who placed a red rose on the sidewalk, stood silently for a moment, and as fast as that car drives away, you’re whisked away on quite the adventure. Cold cases are always the most interesting of mysteries for any reader to unravel, because you must learn the predicate of the case, then you think through along with the detective about current events and wonder how to deconstruct the case to ultimately find a correct logical solution to the crime that was mis-solved and remained unsolved all this time.

The dialogue is fresh and really, it’s just as though you’d stepped into Barnaby’s world just a few years later. Barnaby Jones was so much more than a milk-drinking crime-solver who knew what Geritol was and how to use it. Originally, he was the lead partner and father in a father-son detective agency, Jones & Jones. Further, Barnaby was different than virtually every other Quinn Martin series detective in that he was a forensic scientist and criminologist. You used to see him in his home laboratory with test tubes, Bunsen burners, beakers and all the trappings of forensics pre-Abby Sciuto’s lab in “NCIS.”

So, aside from a propensity to wear a carnation or drink a glass of milk, two charming contrived visuals from Edward Hume (who also created “Cannon,” “The Streets of San Francisco,” and “Toma”), he’s the very same man. The first episode of Barnaby Jones, “Requiem for a Son,” “found a retired Barnaby leaving retirement to find his son’s killer.”

Therefore, in Buddy’s mind, when circumstances of his late son’s final case, which Hal knew not to be a suicide, were resurrected and refreshed, one more time (Buddy decided) that Barnaby would leave retirement and solve the incorrectly resolved case. Thus, the plot is perfectly plausible in 2017 as it was in 2002 when Buddy began working on it.

Once again, he envisioned Hal Jones’ wife Betty, Lee Meriwether, had been the agency’s right hand for before and since her husband’s death would be part of the story, although in more cursory fashion. The reminder of beautiful Lee Meriwether was a lovely memory to consider; even Jedediah (played on TV by Mark Shera) makes an appearance in the novel, though Fortier gives him a less strong character voice possibly to express youthfulness.

So, why should you acquire this book (reprints are available in paperback on Amazon.com) some 37 years after the TV show ended? Because you won’t be disappointed. So many times when we revisit beloved childhood favorites (for Baby Boomers) or contemporary friends (among the Greatest Generation), we end up wishing we hadn’t gone there. Remakes of movies such as “Bewitched” or breathing new life into “Full House” is an example of returns to the originals gone wrong.

On the other hand, the “new” Barnaby Jones novel, is an extremely successful journey back home, to the days when TV detectives caught the bad guys without “CSI,” “Law & Order,” and the invention of the word “procedurals” to describe 60-minute (or 48-minute) storyboards where you already knew who-dun-it and had to watch the good guys catch the bad guys. This time, you get to walk alongside Barnaby and use your own deductive reasoning to consider who might be the bad actor in the case. When Barnaby resolves the case, you might (or might not) know who did it. The joy is in the journey of looking for clues on your path. Thanks to Darlene Quinn, we all have a fun book to enjoy, one which helps us relive the grand old days of detectives we know and loved.

You can find more info on Ms. Quinn's other books on her web site. Barnaby Jones was, and remains, a thinking person’s detective, armed with an equal dose of charm, sage pondering, and reflective questioning before settling on an answer, and a perpetrator. It’s great television of yesteryear and fulfilling reading/listening present day. Get the book, in whatever format you want it. Case closed.