There are two different versions of this article from two different papers.
You can read the first and then read the different/added quotes/information in the second.


“Danny Kaye: Dynamo In a Wheel Chair”

The Telegraph-Herald – May 1, 1964

A high-speed wheel chair is currently making life precarious for pedestrians at Television City in Hollywood. It’s pilot is Danny Kaye.

Kaye, one of the world’s most popular entertainers, is also an accomplished chef who enjoys cooking for his friends.

It is because of his culinary talent that he is currently in the wheel chair. He accidentally cooked his foot along with a dish of linguini he was preparing at a friend’s home. He spilled the pot of linguini, and the boiling water scalded his left leg and foot seriously.

Kaye’s rehearsal schedule for his weekly program is one of the most rigorous for such a show currently on television. Kaye devotes five and a half to six days each week to it.

Viewers know why when they see it. Kaye is in most of the action, from start to finish, whether singing and dancing the opening number, racing through the sketches, dancing with a guest star, or doing his skippity-hop closing dance as the show’s credits crawl across the viewer’s television tube.

A wounded Kaye presented problems. Rehearsal’s for the first few days after the accident were held at the star’s Beverly Hills home. Actors, dancers, singers, writers, producers and directors, arrangers—and doctors—arrived and left as sketches were blocked, arrangements were tested, and Kaye sang from his bed to the music of his pianist, Sammy Prager, at the piano downstairs. Choral director Earl Brown worked on arrangements on a staircase landing.

Kaye’s first day back at Television City promoted a guessing game among the cast and crew: What wretch would be the first to bump into the scalded foot? Kaye’s good humor about it notwithstanding, it was no laughing matter when the painful injury was considered.

To complicate matters, scripts had to be readjusted. Kaye’s physical presence in these sketches normally is an energetic one, so scenes had to be rewritten to allow a stationary Kaye to play skits from a sitting position.

In the show broadcast April 22 producer Perry Lafferty was faced with all sorts of complications.

It was apparent that Kaye could not play his role in a scheduled restaurant sketch with guest star Vincent Price, Howard Morris, gifted character comedian seen often this season on the show, was signed to play Kaye’s role in the sketch.

Viewers of the previous week’s broadcast with guest star Mary Tyler Moore, actually saw the dress rehearsal. It was taped with the hope that it would go smoothly and thus allow Kaye to escape the rigors of another hour’s performance with a leg that was severely blistered. It worked.

So far, no one has bumped the bad leg. It may be because of the sign hanging at the end of a special leg rest on the chair that quotes the key line from a Kaye sketch early in the season: “Don’t touch me!”

The following article is from a different newspaper and is slightly different. Any new paragraphs are highlighted in blue.

“Wheel Chair Gets Danny Around Studio”

Gastonia Gazette – May 16, 1964

A high-speed wheel chair is currently making life precarious for pedestrians at Television City in Hollywood.

It’s piloted by Danny Kaye, star of WBTV’s Wednesday night “Danny Kaye Show.”

Kaye is known as the man of many talents, and it was one of these talents—cooking—that landed him in the rolling chair. He cooked his foot, along with a dish of linguini he was preparing at a friends house.

The dance he did, says the friend, when he spilled the boiling contents on his foot, outdid his closing skippity-hop, a Kaye trademark.

“It’s not so bad,” says Kaye, “except that rehearsals have been pretty much fouled up. We devote some five and a half or six days to the show, and since I’m in most of the sketches, I have to be there.”

A wounded Kaye presented a problem, to be sure. Rehearsals for the first few days after the accident were held at Kaye’s home. Actors, dancers, singers, writers, producers and directors, arrangers—and even doctors—arrived and left as sketches were blocked, arrangements were tested, and Kaye sang from his bed to the music of his pianist at the piano downstairs. Choral director Earl Brown worked on arrangements on a staircase landing.

“Viewers of the broadcast when Mary Tyler Moore was guest actually saw the dress rehearsal,” says Kaye. “It was taped with the hope that everything would go well and we could use it, cutting out another day of being on the foot. It worked, thank goodness.”


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