“Life is so strange”
This is one of those episodes that hits all the high points for me. It’s incredibly funny, it deals with The Monkees trying to make it as a band, and the characters are all working together to achieve a goal. And then there’s the guest cast. The two actors supporting the story steal the show. There were also some cool character moments with The Monkees themselves. Dave Evans wrote this episode which first aired January 23, 1967.
“The Audition” was directed by Richard Nunis, who died one week after wrapping at the age of thirty nine. The only other credit he has is as a production manager for a 1961 television movie called Witchcraft. Since he did such a top notch job with this episode, I can’t help but not think of what other wonderful work he would have done were it not for his untimely death at such a young age.
Micky rests on the hammock and opens his eyes to see four guys in gold lame and red costumes with stockings on their heads. He thinks they’re being invaded by Martians and runs all over the pad in spectacular bit of mania. He falls backwards over the couch and the lounge, bangs on one of the doors, and runs up the steps to gather the other Monkees. It’s just another band, The Four Martians, there to borrow a guitar string. The Monkees discover that TV producer Hubble Benson is auditioning bands for a new TV show and invited The Four Martians and two other competing bands, The Jolly Green Giants, and The Foreign Agents.
Notice how gimmicky these other bands are with costumes and makeup? The only way The Monkees could be equivalent in “style” is if they performed in actual monkey suits. Clearly they have been left out, though they try to cover. They literally put their heads together and think about what to do. Davy suggests sending the tape they made on the rented tape recorder to Benson, but Micky forgot to remove the tape. This is a fantastically cool shot, and I love the rotation when Micky gets his line.
Now we get to the fabulous Benson and Chomsky, who should have had their own sitcom. I’d watch it. TV producer Benson is on his motorized table, receiving a massage. He wants his Dictaphone, but through the intercom, Miss Chomsky tells him it’s broken. He wheels himself out to talk to her, and she holds up her red jacket and plays bullfighter as he wheels past her, saying “Ole!” Miss Chomsky has wisely rented him a tape recorder to use while the Dictaphone is being repaired.
Over at the Facebook group Monkee Magic, group admin Melanie Mitchell has put together a “Script to Screen project” where she has the scripts of some of these episodes available with her commentary. Melanie points out a big difference between the script and the final episode is the character of Miss Chomsky. The script describes her as “thirtyish, nervous, and plain.” Irene Chomsky as played by Bobo Lewis is far from that. She’s bold and in charge, and give as good as she gets when it comes to her obnoxious boss. I’m just guessing that when the production staff saw what Bobo’s strong points were, they decided to go another way with Chomsky. There is a way you can play nervous as big and funny. Mike Nesmith was good at that. But what they did with Chomsky made for a great comedic conflict.
Chomsky sets up the tape recorder for her boss and accidentally plays the tape inside. Of course it’s the Monkees singing “Mary, Mary” (Mike Nesmith). Benson decides to skip the auditions and hire the band on the tape. Chomsky repeatedly explains she can’t possibly find the mystery band. Mr. Benson warns if she says “can’t” one more time, she’s fired. The tape player plays her back saying it and he fires her. She sarcastically thanks him.
The Monkees, ironically, are at the TV production offices trying to figure out how to see Benson. They enter Benson’s building, cleverly located at NBC. As they head into the elevator, Peter comes down with a bad case of hiccups. The Monkees go through a couple of unsuccessful rounds of trying to cure him.
Benson and the not-fired Chomsky continue to do what they do best: argue. Chomsky tells him all the places she called to find The Monkees. Benson suggests she try the hospital. Chomsky is not intimidated because she “needs the rest.” Later she tells Benson she’s checked the film and TV studios, etc. Benson stands up from the massage chair in his glorious polka-dotted boxers and declares:
In the lobby, Peter’s hopping on one foot and counting by twos as a cure for his hiccups. Benson runs by in his underwear. Chomsky comes out carrying pants. She asks if Benson came by and identifies him as the one with the polka dots. Peter’s hiccups disappear as The Monkees decide to chase after Benson.
Benson is at the Missing Persons Bureau to find The Monkees. Comical and subtle sight gag as he has a torn off sleeve, presumably the work of over-eager Monkees. The Missing Persons clerk can’t even find a pencil let alone any persons, and Benson loses faith quickly.
Sight-gag callback as Davy walks along holding the torn sleeve. This also has a meta-humor value because real pop stars like The Monkees would get their clothes torn by hysterical fans [That bit in “Head” was a doozy – Editor]. They decide to go up to Benson’s office and greet Miss Chomsky at her desk. She doesn’t believe they know Benson so Peter explains that Benson cured his hiccups, but when he demonstrates he gets them again.
Outside, they mope while Peter hicks. Micky decides they need to scare Peter so the editors cut in a Monkee in a monster mask from “Monkee See, Monkee Die” and the footage of Reptilicus used in “I Was a Teenage Monster.” A blonde in a two-piece dress with a little midriff exposed catches Peter’s eye. He waves and all The Monkees ogle her. I guess that cured it! The script mentioned that the other three were supposed to get hiccups at that point, but that didn’t make it in.
Benson is in his office getting a manicure from Tilda when the audacious Chomsky comes in and tosses her shoes on his desk. She tells him the newspapers want to know if it’s true he can’t find a “certain band.” Benson asks, what’s wrong with him? Chomsky doesn’t hesitate to tell him he’s “rude, irritable, impatient”… She goes on like this while Benson realizes his search for the band is a great publicity gimmick for his show.
The Monkees set up at a phone booth to audition for Benson via telephone. Benson has the press at his office giving the scoop on his search for the band on the tape. The Monkees play “Sweet Young Thing” (Goffin/King/Nesmith) over the phone but they’re connected to the wrong Benson. Davy and Mike tangle up in the phone cord as Davy goes into the booth to try and call. He gets the right Benson but Benson thinks he’s “Byron Jones,” someone he doesn’t want to talk to, so he puts the phone down and muffles it. Now they play for no one with Davy holding the receiver in his mouth for Mike to sing into.
A line forms behind them for the phone, including a Clark Kent look-a-like. The operator asks them for 10 cents for the next three minutes so they get it from Peter’s shoe where he has a tape label that reads “mad money.” They’ve been cut off and give up. The faux-Kent goes into the booth to change into Superman and struggles to get out while the “Monkee Men” theme plays.
Nice scenes of The Monkees hanging together at home in pajamas. The savviest Monkees, Micky and Mike, try to cheat each other at a game of cards, while the dummy, Mr. Schneider, watches. Peter’s reading the paper in the hammock and hangs out below on a mattress. Davy grabs the paper and reads about Benson’s search for the mystery band. They’re annoyed since they’re busting their butts to audition while he’s chasing a band that “isn’t even trying.” [It appears we’ve come full circle within the music industry – Editor] Peter has the brilliant suggestion that they should be that band. The others are skeptical at first since they don’t know what kind of band the mystery band is, but Peter points out how many kinds of groups are there. In the script it’s Davy who gets to come up with that idea. I’m glad they transferred it to Peter. It makes sense with the simplicity of the suggestion. Peter’s innocence once again makes him the smartest one.
This plan leads into the romp to “Papa Gene’s Blues” (Nesmith) credited at the end as “Papa Jean’s Blues,” which reflects the printing error on the early pressing of their first album, The Monkees. They dress up and play various musical styles while chasing Benson all around the parking lot and his office building. First, they’re a Salvation Army band chasing Benson on his own motorized table. Then they’re a jug band on a bandstand. They dress as a vaudeville group on bikes and in the background you can see the Monkees cast chairs. Benson picks up Mike’s chair to beat them back. They also chase him as a marching band and a Gypsy violin band.
Benson was played by Carl Ballantine, a comic magician who did tricks that never worked. He started out as an actual magician but found he was more successful at making fun of himself when his tricks failed. It’s quite possible the Peter’s turn as The Amazing Pietro in “To Many Girls” was inspired by Ballantine. Here’s a link to Ballantine’s act on The Donnie & Marie Show.
Benson gives up on finding The Monkees, and goes through with his original scheduled auditions. The Jolly Green Giants, Foreign Agents, and Four Martians are at his office. The Jolly Green Giants are up first and Chomsky sets up the tape recorder to tape it. Of course no one can operate a tape player on this show, so she plays The Monkees back and the Jolly Green Giants identify them, calling them a no style band, which I interpret as “no ridiculous costumes.”
The Monkees official YouTube site released a video of the HD restored version of this episode. The Jolly Green Giants look much greener in this version than they do on my DVD. [Slightly cleaned-up, brighter picture, but the difference is negligible with this episode – Editor]
Benson and all the bands descend on the Monkees pad. Benson and Chomsky realize they’ve found them and shout, “Eureka!” to which Peter responds, “No, we’re Americans.” They play for him and he tells them they’re going to be stars of his new show. He asks Chomsky to perform the theme song. She sings and Benson decides she’s the new sound he wanted all along. He says she was “right under his own nose” and wonders what’s wrong with him. She begins to read off his list of flaws again as they leave together. I’m sure he’ll drop her as soon as he hears the next “sound he’s looking for.” I’m also sure Miss Chomsky knows him better than he knows himself, so she’ll be fine.
In the Monkeemobile, Peter laments losing the TV job and the chance to earn “$100 a week.” Mike points out TV stars get more than that, sometimes as much as $5,000 a week. The Monkees themselves earned something closer to the figure Peter’s naming, receiving $450 an episode for the first season, and $750 in the second season. Peter vanishes on hearing what he could’ve earned. The Monkees do the “He’s Gone!” bit and head to the useless Missing Persons Bureau. They describe Peter to the same hapless guy who still can’t find his pencil. The chaos-loving Monkees start tearing apart his office to “help” him find it.
To fill the last few minutes, they have an interview segment where they talk about the Sunset Strip riots, which occurred in late 1966 and in response to the imposed 10 p.m. curfew for kids under 18. These same riots were also the inspiration for the Mike Nesmith song, “Daily Nightly.” Micky says they were actually demonstrations, but “people and journalists don’t know how to spell demonstrations so they use the word ‘riots’ since it only has four letters.” Bob Rafelson asks Mike if he’d like to see all the kids wear their hair like his and Mike gives the best possible reply to such a question, “I would like to see all the kids in the country wearing their hair like they’d like to wear it.” That’s one of the best, if not the best, interview segment they did.
That was one fast-moving, entertaining and fabulous episode. The story itself was short since they tacked the interview on to the end, but they packed a lot in to each scene. The terrific acting, hilarious dialogue and sight gags, and engaging plot line make this one of the classics of the 58 episodes. I also enjoyed the character moments between The Monkees themselves and the central irony of The Monkees trying to “be” the band they already are. And of course in the end, they are not on the road to fortune and fame and will be back to struggling next episode.
by Bronwyn Knox
Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.