Dick Foran

Flemington, New Jersey, USA

Biography

John Nicholas 'Dick' Foran (June 18, 1910 – August 10, 1979) was an American actor, known for his performances in western musicals and for playing supporting roles in dramatic pictures. Foran was still billed as Nick Foran when he signed a contract with Fox in 1934. In 1935, Foran, who stood 6-foot-2 and had red hair, was hired by Warner Bros. as a supporting actor, changing his first name to Dick. He would also croon when called upon in films such as Change of Heart (1934) with Janet Gaynor, made for Fox Film Corporation. His handsome appearance and good-natured personality made him a natural choice for the supporting cast. He first appeared as a singing cowboy in his first starring role, in Moonlight on the Prairie (1935). Other singing cowboy features included Song of the Saddle (1936), Guns of the Pecos (1937), Empty Holsters (1937) and Cowboy from Brooklyn (1938). In 1938 Foran moved to Universal Studios, where he acted in many different genres of film from horror to comedies with Abbott and Costello such as Ride 'Em Cowboy (1942). In 1942, Foran starred as Lon Prentice in a 68-minute war support film, Private Buckaroo. Foran starred in The Petrified Forest (1936), The Sisters (1938), Rangers of Fortune (1940), The Mummy's Hand (1940) and Keep 'Em Flying (1941). One of his last film roles was a small one in Donovan's Reef (1963), starring his longtime friend John Wayne. His final film appearance was as the prospector "Old Timer" in the sentimental film Brighty of the Grand Canyon (1967) with Joseph Cotten, Pat Conway and Karl Swenson Description above from the Wikipedia article Dick Foran, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Movies

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

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Matinee Theater
1955