A psychoanalyst, Dr. Robert Harrison, is called on by the government to treat a noted atomic physicist, Dr. Kirk Allen, who believes that he lives in two separate worlds—on Earth as a scientist in a government research laboratory, and on another planet where he is the dominant authority and has powers of telepathy and teleportation. The story concerns Dr. Harrison's "adventure into outer space" as he "becomes too involved in the other world of his patient."[2] The two of them end up "visiting a celestial asteroid".[3] In the other world, there are two or more girls for every man, wishes are undisputed, and every-day troubles are eliminated.[4]
Cast
The following performers received screen credit for their performances:[1]
The teleplay was broadcast on November 14, 1957, as part of the second season of the anthology television series, Playhouse 90.[1] It was broadcast shortly after the launch of Sputnik and as Sputnik 2 orbited the Earth.[3] Director Burgess Meredith noted, "Publicity-wise the Russians have really come to our aid."[8]
Burgess Meredith made his television directorial debut on the production.[9] One of the challenges facing the producers was in the depiction of the alien creatures on the other planet. Meredith noted at the time that they wanted the women to be "different, but not too different."[8] They hired Miss Color TV, Vampira, and a number of Miss Americas to play the roles of the alien women.[8][10]
Donald O'Connor played the role of the psychiatrist. The role was a departure from his usual song-and-dance roles. O'Connor noted: "Naturally, I'm very nervous about this dramatic role. It's not heavy drama, though, and I'm very glad that Burgess Meredith is directing it."[3]
Phyllis Avery, known for her role as Ray Milland's wife in the sitcom Meet Mr. McNutley, was cast as Dr. Harrison's wife. She said of the role, "It's nice to be a nice girl again . . . I guess I like being a wife best of all."[11]
Reception
In The New York Times, critic Jack Gould found the production to be in "rather questionable taste" as it shifted moods from playful satiric humor to serious issues of psychiatry and the depiction of the scientist as a troubled human being. Gould concluded: "Mixing psychiatry and comedy calls for a surer and subtler touch than was evidenced last night."[4]