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Mama aired on the CBS Television Network from July 1949 until March 1957.

Mama was one of the best of the early family comedies, and was in many ways the prototype of the " Growing Family" series which later proliferated on Television. There were no cheap gags or bumbling parents in Mama, but rather a warmhearted, humorous, true-to-life account of a Norwegian-American family of five making their way in turn-of-the-century San Francisco.

The opening each week was in the style of a reminiscence by Katrin, leafing through the pages of the family album, past the pictures she knew so well-" I remember my brother Nels...and my little sister Dagmar...and of course Papa. But most of all I remember Mama.

Mama herself was played to perfection by the noted stage actress, Peggy Wood. Strict yet loving, she epitomized the gentleness which endeared the series to viewers for so many years. Papa ( Judson Laire),was a carpenter who made just enough money to support his family decently, if not richly. Nels( Dick Van Patten), Katrin ( Rosemary Rice), and Dagmar ( Iris Mann, Robin Morgan,and Toni Campbell), were the children. Any member of the family might be the subject of a week's story-Papa's new invention, Dagmar's braces, Mama's attempts to brighten the household-but all shared in the resolution. Each week's episode ended with the family seated around a pot of the sponsor's Maxwell House Coffee, sharing the lessons learned.

One of the classic stories presented each year, was the Christmas episode in which Papa told Dagmar how the animals were given the gift of speach for a few hours each Christmas Eve, as a reward for their protection of the Christ child in Bethleham. When the rest of the family was asleep, Dagmar slipped out to the stable, to await the special moment.

Other regulars who passed through the Hansens' proper Victorian household on Steiner Street were Aunt Jenny ( * Yenny* to all played by Ruth Gates), T.R. Ryan ( Kevin Coughlin), and Willie the family dog.

So popular was Mama that when CBS announced it was finally cancelling the show in 1956, the outcry was sufficient to bring the program back for a short additional run on Sunday afternoons. These episodes aired from December 1956 until March 1957 and were on film instead of live.

Mama was based on a book, Mama's Bank Account, which was written by a real-life Kathryn ( Forbes). The book had subsequently become a highly successful play ( 1944) and movie ( 1948), both of which were titled I Remember Mama. Unlike some early tv comedies such as The Life Of Riley and I Love Lucy, Mama was telecast live rather than filmed. So while Lucy will be with us forever, the weekly dramas of life in the big white house on Steiner Street are, for the most part, gone forever. Like Katrin turning the pages of the album, we can only remember.

An Article From Time Magazine

From the Old Country
Monday, Feb. 26, 1951 Article

In less than two years, an immigrant Norwegian family has climbed from TV obscurity to the top ten in national ratings. In its successful rise, Mama (Fri. 8 p.m., CBS) has never once raised its voice, stood on its head, or mugged to a studio audience, as do most of its competitors.

If there is nothing earth-shaking about the Hanson family, there is nothing inconsequential either. The scripts, by Writer Frank Gabrielson, are often toughly realistic. Son Nels (Dick Van Patten), pushed too hard by family pride, is shown cheating in an exam for grades to impress his parents. Mama herself, expertly played by Actress Peggy Wood, is human enough to get in a temper just because she's having a bad day. Earnest, bumbling father Lars (Judson Laire), who often wears his head, as well as his heart, on his sleeve, can be as calamitously wrong in business as over an old sweetheart.

Though Mama sometimes looks at the ruder aspects of life, it still sees them through a romantic haze. Things seldom go absolutely right; they never go irrevocably wrong. For most of Mama's big, fond audience, the family favorite is pig-tailed Dagmar, caught at just the right note of sentiment and practicality by nine-year-old Robin Morgan. In theory, each Mama episode takes up a different member of the family; in practice, Robin often steals the show. Producer Carol Irwin observes with awe that radio-trained Robin has somehow developed a "wonderful sense of timing."

Mama and its sponsor, Maxwell House Coffee, have one of the few happy commercial marriages in television. The fragile mood of each show builds steadily without being split down the middle by TV's most distressing habit: the long-winded advertising plug. The commercials are blended skillfully into family coffee klatsches at the beginning and end of each program.

The TV show's distinguished ancestry includes Kathryn Forbes's bestselling novel, Mama's Bank Account, John van Druten's Broadway hit, I Remember Mama, and the movie based on the play. But Producer Irwin and Director Ralph Nelson have not borrowed a single episode from the play and novel. They prefer to concentrate on the basic characters, the locale (San Francisco) and the period (early 1900s). Since the program started, there has been only one major cast change. A spare kinescope (television recording), kept handy in case one of the principals should be taken ill, has never been used.

Another Article From Time Magazine

The Three Prosceniums
Monday, Dec. 28, 1953 Article

Director Ralph Nelson has an unusual TV problem: he is afraid of growing stale. Most TV shows live precariously from one 13-week option to the next, but Nelson's I Remember Mama (Fri. 8 p.m., CBS) has been on the air regularly for nearly five years with the same sponsor (General Foods), the same basic cast, the same editor, Frank Gabrielson, and the same producer, Carol Irwin. Veteran actors Peggy Wood and Judson Laire are still playing a lovable pair of Norwegian immigrants in San Francisco; Robin Morgan, Dick Van Patten and Rosemary Rice are still their Americanized children. Everyone has just gotten a little older.

Nelson keeps his actors fresh by rehearsing them less than any other dramade show on the air,only six hours a week before going on camera. He tries to avoid directorial "writer's cramp" in himself by taking on outside chores with other shows and other networks, e.g., directing such westerns as ABC's Outlaw's Reckoning or such thrillers as Brandenburg Gate, as a refreshing change of pace.

An ex-fighter pilot, Nelson, 37, served his apprenticeship on Broadway as a playwright (The Wind Is Ninety) and as an actor and stage manager in a six-year stint with Alfred Lunt and Lynn Fontanne. He thinks the theater and television are on divergent courses. TV, he argues, has a different pace than the stage and infinitely more mobility: "I use three cameras on each show and, in effect, have three prosceniums." TV actors become puppets of the director, since "an actor never knows when a camera might be on or off him."

Nelson is so committed to TV that he recently abandoned work on a legitimate play because "I kept thinking as I wrote it how much better I could tell the story on television." In fact, Nelson finds TV to be all-consuming, even in his off-duty hours. Recently he gave away his own TV set, explaining tensely: "I'd just sit down to watch the 6 o'clock news and the next thing I knew, there I'd be watching the midnight movie."

An Article From The New York Times

Published: December 15, 1985

''BUT most of all, I remember Mama.''

That nostalgic statement, spoken by the actress Rosemary Rice in each weekly episode of the classic domestic comedy series 'Mama,'' warmed the hearts of television viewers more than 30 years ago. Beginning Tuesday, it will warm the hearts of television buffs who journey to the Museum of Broadcasting. For the next six weeks, the show, which ran from July 1, 1949, to March 17, 1957, will be honored by the museum in ''I Remember Mama,'' an exhibition consisting of seminars and screenings.

'' 'Mama' was very important as the precursor of the domestic comedies to come - it set standards and defined the approach for programs like 'Father Knows Best,' 'Leave It to Beaver' and 'Make Room for Daddy,' '' said Robert Batscha, president of the museum, which is at 1 East 53d Street.

The series was based on Kathryn Forbes's book ''Mama's Bank Account,'' which spawned a successful play by John Van Druten and a 1948 movie, both titled ''I Remember Mama,'' and a radio offshoot starring Irene Dunne. In the television program, the late Peggy Wood portrayed Marta Hansen, the wise, gentle matriarach of a Norwegian immigrant family trying to make ends meet in San Francisco at the turn of the century. Judson Laire, who died in 1981, two years after Miss Wood, played her husband, Lars.

On to Varied Careers

Miss Rice, Dick Van Patten and Robin Morgan - who played the couple's three children, Katrin, Nels and Dagmar - have had interesting careers. Mr. Van Patten went on to even greater success playing a benevolent parent in ''Eight Is Enough.'' Robin Morgan became a noted feminist writer. And Miss Rice, ''Mama's'' dedicated keeper of the flame, has had a successful career making children's records.

On Tuesday and Wednesday, the trio will reunite with the show's original producer-director, Ralph Nelson - who is now a film director, known for ''Requiem for a Heavyweight,'' ''Lilies of the Field'' and ''Charly'' -for two public seminars at which they will reminisce about the early days of television and answer questions from the public. The seminars are at 5:30 P.M. Tuesday and 12:30 P.M. Wednesday, and tickets are $5. Each week of the exhibition will be devoted to a different aspect of the show. ''The Three Stages of Mama -Radio, Live, and Film,'' which runs this week, presents the original 1948 radio broadcast with Miss Dunne, ''Citizen Mama,'' which spawned the TV series, the kinescope of a 1950 live telecast and a filmed 1956 Christmas show. The titles for the five remaining weeks are ''Mama and Papa,'' ''The Children,'' ''Relatives and Neighbors,'' ''Family Affairs'' and ''Mama: The Year On Film.'' Each program comprises three half-hour episodes and is shown three times in an afternoon.

''I Remember Mama'' is the third exhibition in the Museum of Broadcasting's Discovery series, an ongoing search for classic programs believed to be lost. The series began two years ago, with four original episodes of ''The Honeymooners'' that had been missing for 30 years. Publicity surrounding the exhibition led to the discovery of all 75 original episodes. The second series was ''Super Bowl III.''

An Attention-Getter

''The series is designed to call attention not only to what we've found but to what we cannot find,'' Mr. Batscha explained. ''Many programs are lost only in the sense that people with copies assume the networks keep copies of everything - they don't realize they possess the only copies. For many years there was no sense of a re-run market in the television industry. Shelf space was full, and a lot was either destroyed, or in the case of videotape, recorded over.

A primary source behind ''I Remember Mama'' was Rosemary Rice, who donated her extensive trove of what she calls ''Mamabilia'' to the museum. Among her 2,000 items were five old kinescopes of live episodes. Ralph Nelson provided four more kinescopes, and video collectors and other sources produced others for a total of 14. Sleuthing in a CBS warehouse recently uncovered 23 episodes filmed for the final season, when ''Mama'' went from live broadcasts to film.

''I literally grew up with the show, and those years were some of the happiest of my life,'' Miss Rice recalled last week. ''During its first five years, we worked at Grand Central Station. Rehearsals were Mondays through Thursdays in a big hall right over Track 23. The actual broadcasts took place in a studio on the other side of the building over the Oyster Bar. Since we spent five days a week together, we really were like a family. To the day he died I always called papa 'Papa.' The experience profoundly changed my life, and I came out of it feeling I had been part of something that was valuable and lasting.''

One need not have been a performer on ''Mama'' to be touched by its special warmth. ''Recently, we screened some of the episodes for our board of directors,'' Mr. Batscha recalled. ''Afterward, there were a lot of people wiping away tears.''

The Museum of Broadcasting is open to the public from noon to 5 P.M. Wednesdays through Saturdays, and from noon to 8 P.M. on Tuesday. The number for information is 752-4690

An Article About Mama- Recalling A Lost Classic

I recently had an opportunity to view about a half-dozen kinescopes of Mama. I was very impressed by the incredible high quality of acting and production value they achieved being a live show.

For 8 seasons viewers made a point of staying home and turning into CBS at 8:00 pm on Friday Nights to spend a half-hour with the Hansen family. Fans of this show never suffered through cheap gags, bumbling parents, smart-mouthed kids or wacky neighbors. Instead each week they were treated to a supurbly crafted scipt that presented a warmhearted humerous, true-to-life count of a Norwegian-American family of 5 making their way in turn-of-the-century San Fransisco.

Amazingly at the beginning CBS hated Mama. CBS never expected anything of this show so they placed it on Friday nights, a killer timeslot, which had almost no previous audience. A top CBS boss was quoted as saying " I give Mama a fast 8 weeks and it will be gone." Mama outlasted this CBS top dog by almost 7 years. Some of the sitcom's longevity has to be credited to the show's corporate sponsor, General Foods. They absolutely loved the series right from the start and told CBS " Do not interfere in anyway with our favorite show." General Foods were well satisfied with the massive identification it's Maxwell House Coffee derived each week.

One of the reasons viewers loved this series was because of the way it seemed to be commercial free. Each episode would begin with the cast acting in a live short piece about the use of Maxwell House Coffee. Then for an uninterruped 27 minutes the cast would perform the entire episode of Mama totally live, followed by a live 2 minute Maxwell House Skit at the end of the half-hour. They followed this totally live format for a full 7 seasons, even when almost all other sitcoms had moved to film. Sadly, being a fully live series is the main reason the majority of Mama episodes are now lost forever. Only a handful of kinescopes are now around.

Astoundingly the series only had a single writer and a single director for the entire first 3 seasons. Director Ralph Nelson and writer Frank Gabrielson were of Scandinavian heritage and both credit this as the reason why they had such strong empathy with the Hansen family. They set a pattern of incredibly high standards in the scripts, acting and directing each wee. Before the end of the first season, many Hollywood actors, directors, and writers began clamoring to do a guest appearance or in some way work on the Mama series.

Mama was filled with gentile humerous stories, somewhat old-fashioned in their morality but really high-quality and enjoyable to watch. This series was labeled as being a sit-com but other than it's 30 minute format is not related to any other sitcom ever made. The character's weren't insulting each other and very rarely did anyone yell, and yet this highly rated show went on week after week in it's simple, affectionate and humerous way.

I recently had the pleasure of asking a television network President " Why doesn't anyone make such high-quality sitcoms today?" He told me " Today's audience isn't bright enough for that kind of show anymore." The secret of getting a good demographic and good rating for a sitcom is to have the cast planted in a single set, standing there yelling insults at each other for 22 minutes. If that's what the audience wants, that's what they're going to get until we run out of tape...or actors."

An Article from

Still Remember Mama I Remember Mama
Published on Sunday, 11 May 2008,


I BELIEVE IT'S safe to assume that every American adult who can remember the late 1940s and '50s has some recollection of, if not an affection for, these three words:

"I Remember Mama."

For almost 10 years, beginning in the late '40s, a black and white CBS television series of that name captivated American viewers.

It had been preceded by the Katherine Forbes memoir, "Mama's Bank Account," as well as a Broadway play, a movie and a radio show.

So powerful were the portrayals in each venue of this struggling Norwegian-American family, we cleaved to their stories of inter- dependence and strength, as well as the wisdom and basic goodness of its queenly matriarch.

The television show opened with the symphonic mood of Edward Greig's "Holver Suite" and a slow reveal of the pages of a family album. The wistful reverie of a child was heard to say, "I remember the big white house on Steiner Street, and my little sister Dagmar, and my big brother Nels, and Papa. But, most of all, I remember Mama."

It was clearly Mama's show for years of unprecedented critical as well as ratings successes. Veteran stage actress Peggy Wood performed weekly as America's most considerate and firm, yet tender and loving Mama.

It's interesting today, a half-century later, to scan the plot themes of "Mama's" most acclaimed shows. Each episode of the show, set in the difficult times of the early 1900s, was written to show how this loving family persevered. Museum of Broadcasting archives often refer to it as "The continuing saga of Mama's world," yet each episode dealt with a family member's problem that drew all of them into its resolution.

Notably absent from any serious reviews of "Mama" is the ubiquitous catch-all phrase of today, "family values." Truly, such virtues were perceived by critics and viewers alike as part of the basic nobility of the Hansen family, and as such, were found in every episode, along with a goodly portion of traditional domestic comedy.

This year's Mother's Day, like most of its recent predecessors, will take me back to personal "I remember Mama" days. I'll close my eyes and again see my mama. She'll be about the same as Peggy Wood, only smarter. She'll be just as loving and tender and considerate and caring. More of a churchwoman, my Mama was also an English teacher, meaning that lazy speech habits were corrected on the spot, even while Mama was ironing or cooking or sewing or washing or sweeping or singing or playing the piano.

Oh yes, I remember Mama. Especially today.

Guest columnist John Waldron, a former Virginia Beach resident, is a retired advertising writer now living in Ocala, Fla.

Cast Obituaries

To read Peggy Wood's Obituary go to

Here is Judson Laire's Obituary from the New York Times

Judson Laire, 76, Actor Of Stage, Screen and TV


Judson Laire, the actor who portrayed Papa in the popular 1950's television series I Remember Mama, died Thursday in Rhinebeck, N.Y. Mr. Laire, who had lived in the Dutchess County community of Clinton Corners, was 76 years old.

His career in show business included work in television, the theater and motion pictures. On Broadway, he appeared in the early 1940's musical production of Best Foot Forward and later in Advise and Consent.

His screen credits included The Ugly American, with Marlon Brando. In addition to his nine‐year‐television role in I Remember Mama, Mr. Laire appeared in a number of daytime television programs, including Young Dr. Malone, The Nurses, and The Edge of Night.

He was born in New York City and survived by a sister, Mrs. Marguerite L. Cox of Dunedin. Fla.

Here is Rosemary Rice's Obituary from the New York Times

Rosemary Rice, Oldest Daughter of TV's Mama, Dies at 87

Published: August 22, 2012

Rosemary Rice, an actress who found fame in the early days of television playing the perky oldest daughter, Katrin, on Mama, a beloved family show broadcast live on CBS for many years, died on Aug. 14 at her home in Stamford, Conn. She was 87.

The cause was a heart attack, her son, John Merrell, said.

Mama was about the Hansens, a family of Norwegian immigrants facing the trials of life in San Francisco at the beginning of the 20th century. The series was based on the book, Mama's Bank Account, by Kathryn Forbes, which was also adapted as a play, a radio show and a 1948 movie, I Remember Mama, starring Irene Dunne as Mama and Barbara Bel Geddes as Katrin. The television show was broadcast from 1949 to 1957, initially from a studio in Grand Central Terminal over the Oyster Bar.

Mama was very important as the precursor of the domestic comedies to come, said Robert Batscha, president of the Museum of Broadcasting, in 1985, when the museum held an exhibition of some of the show's surviving episodes.

Ms. Rice's flaxen good looks made her perfect for the wholesome but occasionally saucy Katrin. The show also starred Peggy Wood as the mother, Marta; Judson Laire as the father, Lars; Dick Van Patten as the brother, Nels; and Robin Morgan as the sister, Dagmar.

Katrin began each episode by flipping through a photo album and reminiscing to the audience, ending with the phrase, But most of all, I remember Mama.

I literally grew up with the show, Ms. Rice told The New York Times in 1985. Since we spent five days a week together, we really were like a family. To the day he died I always called papa, Papa.

Rosemary Rice was born on May 3, 1925, in Montclair, N.J. She appeared in Broadway shows like Gypsy Rose Lee's 1943 comedy, The Naked Genius, and on the radio in soap operas and mystery shows. She married John B. Merrell in 1954 and released a handful of children's records on Columbia. She also appeared at gatherings of Mama fans for decades.

Mama was recorded on kinescopes, most of which were later destroyed. But Ms. Rice kept several for herself and donated them to the broadcasting museum (now the Paley Center for Media) for the 1985 exhibition.

Besides her son, Ms. Rice is survived by a daughter, Marcie Schonborn; a brother, Rogers; and three grandchildren.

This article has been revised to reflect the following correction:

Correction: August 23, 2012

An earlier version of this article referred incorrectly to kinescope recordings of television shows. They can not be recorded over and reused.

Here is Dick Van Patten's obituary from the LA Times

Dick Van Patten dies at 86; 'Eight is Enough' star, pet food firm co-founder

by David Colker
June 23, 2015

Actor Dick Van Patten, best known for playing the genial dad on the "Eight is Enough" hit TV series in the 1970s and 1980s, had a long and varied career that started before he could read.

He was signed to a child modeling agency at 3, was on Broadway at 7, acted with the Lunts (beating out Marlon Brando for the part) at 16, and was in the cast of the landmark 1950s TV hit "Mama." He also appeared in several movies and had guest roles on scores of TV shows.

Certainly a successful career, but peanuts financially, compared to his venture into another business. In the mid-1980s, Van Patten, who was an animal lover, co-founded Natural Balance Pet Foods, which grew into one of the most successful brands in the country. The company was sold to food giant Del Monte in 2013 for several hundred million dollars.

"He used to tell me he made more money off the business," said company co-founder Joey Herrick, "than all the acting combined."

Van Patten, 86, died Tuesday at Saint John's Health Center in Santa Monica. The cause was complications from diabetes, publicist Jeffrey Ballard said.

His last credit was for an appearance on the "Hot in Cleveland" TV series in 2011.

"I loved working with Dick Van Patten," Mel Brooks said in a statement. Brooks cast the actor in "Spaceballs," "High Anxiety" and "Robin Hood: Men in Tights" as well as the short-lived TV series "When Things Were Rotten."

"He could do drama, comedy and had a talent for that rarest of gifts satire," Brooks said. "Had he been a baseball player he would have been a great utility infielder."

The producers of "Eight Is Enough," which ran from 1977 to 1981, had originally chosen a different actor for the role of the patriarch of a family with eight highly independent children. But ABC president Fred Silverman, remembering Van Patten from "Mama," wanted the actor for his ability to play both comedy and drama.

The show may not have been as edgy as some others of the time, including "All in the Family," Van Patten wrote in his 2009 memoir, "Eighty is Not Enough," but it dealt with real-world family situations.

"The most important recurring theme involved the difficulties of coming of age," he wrote. "There comes a time when children realize that life is not always what it seems."

He was born on Dec. 9, 1928, in the Kew Gardens neighborhood of Queens in New York City.

Show business was not his choice as a boy. That decision was made by his mother.

"My mother was aggressive, the typical stage mother," he told the Boston Globe in 1988. She got him a photo test at the prominent John Robert Powers agency, leading to ads for kids' clothing, bread, toothpaste and other items.

Next she wanted him to conquer the stage.

"I remember how my mom would take me on the subway from Queens to Broadway," he told the Globe. "We'd go to the offices of casting agents. Many doors were slammed in our faces. I was just a boy, but I remember that well."

His Broadway debut was in the World War I drama "Tapestry in Gray" in 1935 with Melvyn Douglas. It flopped, but Van Patten began to enjoy the show business life. At 14 he appeared in the 1942 production of Thornton Wilder's "The Skin of Our Teeth," which starred the flamboyant Tallulah Bankhead. At one point, Bankhead called him to her dressing room, "and there she was sitting on her chair in front of the mirror stark naked!" Van Patten wrote. She wanted to tell him to change the delivery of one of his lines.

"For the remainder of the show," he wrote, "I kept thinking to myself, maybe I should mess up the line again so Tallulah would call me back to her."

He also picked up a lifelong fondness for horse races. When asked at school to write a how-I-spent-my summer-vacation essay, he wrote one called "How to Beat the Races." His teacher, not amused, expelled him, and Van Patten never finished high school.

After years on television made him a familiar figure, he was a regular guest on talk shows. While guest hosting "The John Davidson Show" in 1982, he had a conversation over lunch with Herrick, a drummer in the show band. They talked about their love of dogs, and Herrick called him a few years later with a proposal to start a pet food company.

"He would do anything to promote the product," Herrick said, including eating from the can of one of their brands that was made to human food standards.

"I never met anyone who enjoyed life as much as he did," Herrick said.

Van Patten is survived by his wife, Pat; sons Nels, Jimmy and Vincent, who are all actors; his actress sister, Joyce Van Patten; and half-brother Timothy Van Patten, who is a director.

To read some articles about Mama go to and and and

To watch some episodes from Mama go to

To go to Tim's TV Showcase go to

For an episode guide go to

For more on Peggy Wood go to

For some Mama-related interview videos at the Archive of American Television go to

For a Review of Mama go to

To watch the opening credits go to
Date: Sat January 3, 2004 � Filesize: 59.4kb, 207.3kbDimensions: 943 x 1170 �
Keywords: Mama Peggy Wood Dick Van Patten Judson Laire


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