13 Fun Facts About Newhart

Shout! Factory
Shout! Factory

After six seasons of The Bob Newhart Show, the series’ titular, buttoned-down star wasn’t anxious to commit to another TV series. But once inspiration for an interesting premise struck him, and the right co-creator and team of writers came on board, Bob Newhart signed on to play Dick Loudon, a former New York City advertising exec who chucked it all and moved to Vermont with his wife to run a bed and breakfast while writing a series of how-to books on the side.

Newhart's ratings were strong enough after the second season for a third to be ordered, but the show's star and his staff knew some serious changes were needed if there was to be a fourth season. Luckily the network gave the series—which premiered 35 years ago—the necessary time to find its footing, and it continued on for a total of eight seasons, which culminated in one of the most memorable series finales in the history of the medium.


Bob Newhart got the idea for Newhart while dining in the restaurant of a Hilton hotel in Seattle. After observing the various visitors for a while, he concluded that hotel guests are just as nonsensical as the patients Bob Hartley used to treat on The Bob Newhart Show. “I function well with a bunch of crazies around me I can react to,” Newhart told the Los Angeles Times in 2008. He pitched the idea to Barry Kemp, who’d previously worked as a writer on Taxi, and the two worked together on a pilot script. Kemp eventually suggested setting the show in Vermont; Newhart agreed, as “after you’ve done three or four rain jokes, you’ve kind of run out of material as far as Seattle is concerned.”


The exterior shots of the Stratford Inn are actually the Waybury Inn in East Middlebury, Vermont. It was built by John Foote in 1810 as a boarding house and tavern for local workers and stagecoach travelers passing through the Green Mountains. It’s still in business, complete with an autographed photo of Bob Newhart in the lobby and a few assorted props from the show on display.


When Mary Frann was hired to play Joanna Loudon, Bob Newhart immediately took her aside and warned her, “You’re going to have a tough job because Suzy (Suzanne Pleshette, Newhart’s previous sitcom wife) and I, we had this wonderful rapport, and they’re going to compare you to it, and it’s going to be tough on you.” After a few seasons, Frann rebelled a bit against her restrictive “straight man” role by relentlessly mugging whenever she was on-camera. Sadly, her efforts had the opposite effect; Newhart would subtly distance himself from her and the camera would follow him.


Tom Poston was a longtime personal friend of Bob Newhart’s who would occasionally pop up on The Bob Newhart Show as Bob’s old college roommate and partner-in-juvenile-pranks, “The Peeper.” Poston landed a regular co-starring role on Newhart as George Utley, the seemingly bumbling handyman who also exhibited unexpected moments of brilliant insight. Barry Kemp originally had Jerry Van Dyke in mind for the role of George, but in the end Newhart convinced Kemp that Poston, whose trademark was subtly underplaying a character, was a better overall fit for the character than Van Dyke’s broad style of comedy.


The trio of backwoodsmen known as Larry, Darryl, and Darryl actually made their first appearance in the series’ second episode. Dick hired their “company,” Anything for a Buck, to unearth the 300-year-old body of a woman buried in the Stratford Inn’s basement. The audience’s reaction to the brothers did not go unnoticed by Newhart and co-creator Kemp, and they were one of the first additions to the regular cast when Newhart underwent a makeover after season two.


Newhart was one of the rare shows that actually improved after a major retooling and the addition of several new characters. Newhart himself has said that, in hindsight, part of the problem with the first two seasons was that there were two characters that weren’t really working: Kirk Devane (the owner of the Minuteman Café, played by Steven Kampmann) and Leslie Vanderkellen (the Stratford’s original maid, played by Jennifer Holmes). Holmes was the first casualty; her Leslie was a student at Dartmouth who was also an Olympic-caliber skier, and was frankly just too nice to be funny, so she was let go at the end of season one. Kirk’s shtick as a pathological liar became a little too one-note, and his lustful pursuit of Leslie had nowhere to go after her character was axed. The writers tried a few different story lines for Kirk, but nothing seemed to click and Kampmann’s contract was not renewed for season three.

The characters weren’t the only thing to change on Newhart. At the beginning of season two, they began recording the show on film rather than videotape (at Newhart’s request). Season three brought several more major changes, including the addition of brothers Larry, Darryl, and Darryl as the new owners of the Minuteman Café, and Leslie’s vain, spoiled cousin Stephanie Vanderkellen (Julia Duffy) as the hotel’s reluctant new maid.

The writers also decided that there weren’t unlimited laughs to be found in the publishing world, so in addition to writing how-to books, Dick Loudon began hosting a local talk show, Vermont Today. The producer of that show was uppity yuppie Michael Harris, played by Peter Scolari. The quirky new characters combined with the oddball talk show guests gave Newhart an element of surrealism reminiscent of Green Acres, and the previously middling ratings steadily improved.


Unlike most sitcom stars, Newhart preferred to go out and do his own audience warm-up before each episode was filmed. It helped him keep in touch with his stand-up roots and relieved any pre-show jitters. Tom Poston had his own crowd-bonding ritual: he would purposely blow a line in his first scene and then utter an expletive. The studio audience would roar with laughter, and he would consider them sufficiently “loose” enough to appreciate the rest of the show.


William Sanderson, who played Larry, graduated from Memphis State University with a BBA and JD, but the acting bug bit him before he sat for the bar exam. Despite this educational pedigree, Sanderson remained very much a good ol’ Memphis boy at heart. While working on Newhart he sipped Jack Daniels and read the Bible in his dressing room between takes, and he constantly chewed tobacco. He had a habit of leaving his spittle cups all over the set, to the disgust of his co-workers.

The part of Larry was actually written with veteran character actor Tracey Walter in mind, but Walter was asked to audition for the role and in the end Sanderson (who had worked with Walter in Coal Miner’s Daughter) managed to steal the part away from him. Sanderson partially attributed his success to the lucky coin he’d worn in his ear at the audition (and which he continued to wear while in character), because he’d done the same when he had auditioned for Coal Miner’s Daughter.


Shout! Factory

Tony Papenfuss (First Darryl) and John Voldstad (Second Darryl) are both classically trained actors who had years of stage experience on their resumes when they landed their Newhart parts. Both actors’ agents actually advised them against accepting the roles, since they were non-speaking parts. (Did they mind never getting to talk? “They never said anything to me about it,” Sanderson told PennLive.com in 2015.) One aspect the duo was less enthusiastic about was the fact that MTM Enterprises, who owned the characters, would not let the actors appear in public in character, nor were they allowed to talk to the press.


Steven Kampmann lived in Vermont for several years after graduating from the University of Pennsylvania. While still working on Newhart, he talked to the writers about an article he’d read in the Burlington Free Press about recent UFO sightings in Richford, Vermont. That news story was the basis for the season one episode entitled “Heaven Knows Mr. Utley.” Interestingly enough, that area of Vermont is still reportedly being visited by extra-terrestrials.


Bob Newhart was reportedly as laid back in real life as his character appeared to be on the show. Watch carefully and you’ll notice that in most scenes he remains fairly stationary, either standing behind the check-in desk or sitting down on the sofa. He preferred to let the other cast members do all the walking around; the less he had to do, other than delivering his lines, the better. He also didn’t waste time once the final “Cut!” was called; he traditionally left the set once filming wrapped and headed straight for home while still wearing his stage wardrobe. Someone from the wardrobe department would stop by the Newhart home later and collect “Dick’s” clothes and return them to the studio.


Newhart writer Dan O’Shannon has gone on record disputing the story, but both Bob Newhart and Suzanne Pleshette have explained the genesis for the final episode as follows: At the end of season six, Bob Newhart was seriously considering calling it quits with the series. He was unhappy with CBS over several issues and felt that he and his crew weren’t being treated fairly. He and his wife, Ginny, were at a Christmas party when he finally voiced his intention to quit aloud. Ginny quickly suggested that he should end the show on a dream sequence, since there were so many inexplicable things about the show: “You should wake up in bed with Suzy and explain that you’d had a dream about owning an inn.”

As luck would have it, Suzanne Pleshette was at the same party and Bob was able to discuss the idea with her later that evening. She immediately agreed, but ended up waiting two more years to do it since Newhart settled his issues with CBS and stayed with the show for two more seasons.


The filming of that classic scene in the series finale was conducted with the utmost secrecy. A fake final act was written and included in the script given to the rest of the cast. The Hartleys’ Chicago bedroom set was built on a separate stage and Suzanne Pleshette was confined to a dressing room for six hours so that no one would see her. There was no rehearsal for scene, and the rest of the cast wasn’t let in on the secret until 20 minutes before it was actually filmed. After that slice of television history was in the can, Suzanne slipped out quietly without attending the wrap party, even though she had been invited. She later stated that she would have felt uncomfortable, particularly around Mary Frann, since that concluding scene basically negated every previous episode of the series.

Additional sources: Chicago Tribune, February 3, 1985 Orange Coast Magazine, February 1987 Emmy TV Legends interview with Suzanne Pleshette
Telephone interview with Terry Bolo, Julia Duffy's stand-in for six seasons

Hee-Haw: The Wild Ride of "Dominick the Donkey"—the Holiday Earworm You Love to Hate

Delpixart/iStock via Getty Images
Delpixart/iStock via Getty Images

Everyone loves Rudolph the Red-Nosed Reindeer. He’s got the whole underdog thing going for him, and when the fog is thick on Christmas Eve, he’s definitely the creature you want guiding Santa’s sleigh. But what happens when Saint Nick reaches Italy, and he’s faced with steep hills that no reindeer—magical or otherwise—can climb?

That’s when Santa apparently calls upon Dominick the Donkey, the holiday hero immortalized in the 1960 song of the same name. Recorded by Lou Monte, “Dominick The Donkey” is a novelty song even by Christmas music standards. The opening line finds Monte—or someone else, or heck, maybe a real donkey—singing “hee-haw, hee-haw” as sleigh bells jingle in the background. A mere 12 seconds into the tune, it’s clear you’re in for a wild ride.


Over the next two minutes and 30 seconds, Monte shares some fun facts about Dominick: He’s a nice donkey who never kicks but loves to dance. When ol’ Dom starts shaking his tail, the old folks—cummares and cumpares, or godmothers and godfathers—join the fun and "dance a tarentell," an abbreviation of la tarantella, a traditional Italian folk dance. Most importantly, Dominick negotiates Italy’s hills on Christmas Eve, helping Santa distribute presents to boys and girls across the country.

And not just any presents: Dominick delivers shoes and dresses “made in Brook-a-lyn,” which Monte somehow rhymes with “Josephine.” Oh yeah, and while the donkey’s doing all this, he’s wearing the mayor’s derby hat, because you’ve got to look sharp. It’s a silly story made even sillier by that incessant “hee-haw, hee-haw,” which cuts in every 30 seconds like a squeaky door hinge.

There may have actually been some historical basis for “Dominick.”

“Travelling by donkey was universal in southern Italy, as it was in Greece,” Dominic DiFrisco, president emeritus of the joint Civic Committee of Italian Americans, said in a 2012 interview with the Chicago Sun-Times. “[Monte’s] playing easy with history, but it’s a cute song, and Monte was at that time one of the hottest singers in America.”

Rumored to have been financed by the Gambino crime family, “Dominick the Donkey” somehow failed to make the Billboard Hot 100 in 1960. But it’s become a cult classic in the nearly 70 years since, especially in Italian American households. In 2014, the song reached #69 on Billboard’s Holiday 100 and #23 on the Holiday Digital Song Sales chart. In 2018, “Dominick” hit #1 on the Comedy Digital Track Sales tally. As of December 2019, the Christmas curio had surpassed 21 million Spotify streams.

“Dominick the Donkey” made international headlines in 2011, when popular BBC DJ Chris Moyles launched a campaign to push the song onto the UK singles chart. “If we leave Britain one thing, it would be that each Christmas kids would listen to 'Dominick the Donkey,’” Moyles said. While his noble efforts didn’t yield a coveted Christmas #1, “Dominick” peaked at a very respectable #3.


As with a lot of Christmas songs, there’s a certain kitschy, ironic appeal to “Dominick the Donkey.” Many listeners enjoy the song because, on some level, they’re amazed it exists. But there’s a deeper meaning that becomes apparent the more you know about Lou Monte.

Born Luigi Scaglione in New York City, Monte began his career as a singer and comedian shortly before he served in World War II. Based in New Jersey, Monte subsequently became known as “The Godfather of Italian Humor” and “The King of Italian-American Music.” His specialty was Italian-themed novelty songs like “Pepino the Italian Mouse,” his first and only Top 10 hit. “Pepino” reached #5 on the Billboard Hot 100 in 1963, the year before The Beatles broke America.

“Pepino” was penned by Ray Allen and Wandra Merrell, the duo that teamed up with Sam Saltzberg to write “Dominick the Donkey.” That same trio of songwriters was also responsible for “What Did Washington Say (When He Crossed the Delaware),” the B-side of “Pepino.” In that song, George Washington declares, “Fa un’fridd,” or ‘It’s cold!” while making his famous 1776 boat ride.

With his mix of English and Italian dialect, Monte made inside jokes for Italian Americans while sharing their culture with the rest of the country. His riffs on American history (“What Did Washington Say,” “Paul Revere’s Horse (Ba-cha-ca-loop),” “Please, Mr. Columbus”) gave the nation’s foundational stories a dash of Italian flavor. This was important at a time when Italians were still considered outsiders.

According to the 1993 book Italian Americans and Their Public and Private Life, Monte’s songs appealed to “a broad spectrum ranging from working class to professional middle-class Italian Americans.” Monte sold millions of records, played nightclubs across America, and appeared on TV programs like The Perry Como Show and The Ernie Kovacs Show. He died in Pompano Beach, Florida, in 1989. He was 72.

Monte lives on thanks to Dominick—a character too iconic to die. In 2016, author Shirley Alarie released A New Home for Dominick and A New Family for Dominick, a two-part children’s book series about the beloved jackass. In 2018, Jersey native Joe Baccan dropped “Dominooch,” a sequel to “Dominick.” The song tells the tale of how Dominick’s son takes over for his aging padre. Fittingly, “Dominooch” was written by composer Nancy Triggiani, who worked with Monte’s son, Ray, at her recording studio.

Speaking with NorthJersey.com in 2016, Ray Monte had a simple explanation for why Dominick’s hee-haw has echoed through the generations. “It was a funny novelty song,” he said, noting that his father “had a niche for novelty.”

The 11 Best Movies on Netflix Right Now

Laura Dern and Scarlett Johansson in Marriage Story (2019).
Laura Dern and Scarlett Johansson in Marriage Story (2019).
Wilson Webb/Netflix

With thousands of titles available, browsing your Netflix menu can feel like a full-time job. If you're feeling a little overwhelmed, take a look at our picks for the 11 best movies on Netflix right now.

1. Spider-Man: Into the Spider-Verse (2018)

Spider-Man may be in the middle of a Disney and Sony power struggle, but that didn't stop this ambitious animated film from winning the Oscar for Best Animated Feature at the 2019 Academy Awards. Using a variety of visual style choices, the film tracks the adventures of Miles Morales (Shameik Moore), who discovers he's not the only Spider-Man in town.

2. Hell or High Water (2016)

Taylor Sheridan's Oscar-nominated Hell or High Water follows two brothers (Chris Pine and Ben Foster) who take to bank robberies in an effort to save their family ranch from foreclosure; Jeff Bridges is the drawling, laconic lawman on their tail.

3. Raging Bull (1980)

Robert De Niro takes on the life of pugilist Jake LaMotta in a landmark and Oscar-winning film from Martin Scorsese that frames LaMotta's violent career in stark black and white. Joe Pesci co-stars.

4. Marriage Story (2019)

Director Noah Bambauch drew raves for this deeply emotional drama about a couple (Adam Driver, Scarlett Johansson) whose uncoupling takes a heavy emotional and psychological toll on their family.

5. Dolemite Is My Name (2019)

Eddie Murphy ended a brief sabbatical from filmmaking following a mixed reception to 2016's Mr. Church with this winning biopic about Rudy Ray Moore, a flailing comedian who finds success when he reinvents himself as Dolemite, a wisecracking pimp. When the character takes off, Moore produces a big-screen feature with a crew of inept collaborators.

6. The Lobster (2015)

Colin Farrell stars in this black comedy that feels reminiscent of screenwriter Charlie Kaufman's work: A slump-shouldered loner (Farrell) has just 45 days to find a life partner before he's turned into an animal. Can he make it work with Rachel Weisz, or is he doomed to a life on all fours? By turns absurd and provocative, The Lobster isn't a conventional date movie, but it might have more to say about relationships than a pile of Nicholas Sparks paperbacks.

7. Flash of Genius (2008)

Greg Kinnear stars in this drama based on a true story about inventor Robert Kearns, who revolutionized automobiles with his intermittent windshield wiper. Instead of getting rich, Kearns is ripped off by the automotive industry and engages in a years-long battle for recognition.

8. Locke (2013)

The camera rarely wavers from Tom Hardy in this existential thriller, which takes place entirely in Hardy's vehicle. A construction foreman trying to make sure an important job is executed well, Hardy's Ivan Locke grapples with some surprising news from a mistress and the demands of his family. It's a one-act, one-man play, with Hardy making the repeated act of conversing on his cell phone as tense and compelling as if he were driving with a bomb in the trunk.

9. Cop Car (2015)

When two kids decide to take a police cruiser for a joyride, the driver (Kevin Bacon) begins a dogged pursuit. No good cop, he's got plenty to hide.

10. Taxi Driver (1976)

Another De Niro and Scorsese collaboration hits the mark, as Taxi Driver is regularly cited as one of the greatest American films ever made. De Niro is a potently single-minded Travis Bickle, a cabbie in a seedy '70s New York who wants to be an avenging angel for victims of crime. The mercurial Bickle, however, is just as unhinged as those he targets.

11. Sweet Virginia (2017)

Jon Bernthal lumbers through this thriller as a former rodeo star whose career has left him physically broken. Now managing a hotel in small-town Alaska, he stumbles onto a plot involving a murderer-for-hire (Christopher Abbott), upending his quiet existence and forcing him to take action.