After being cancelled by ABC in the spring of 1970, the show was never re-ran because of the musician's union contract fees, as well as the entertainer/actor rerun fees. The program was just too expensive for any network or for any independent marketing format.
Ray Hines was the security guard for the Hollywood Palace theater and studio, employed by ABC. His job was to maintain the security of the facility while also supervising Studio Page staff members during day and evening schedules. His presence was almost around the clock during production taping schedules. He also would assist celebrity guests and hosts on their arrival before the show and their departure after it. During taping he remained at the theater's rear elephant doors, which were directly opposite the "star dressing room", where he maintained control over fans and activities passing through the backstage area. Hines lived at the Hollywood Tower Penthouse Suite, which had been occupied by George Raft in the 1940s and 1950s. In emergencies he was within walking distance to the theater. One such instance occurred one night when the cyclorama, composed of muslin and shark-toothed scrim soft fabric, burst into flames. Hines alerted the Hollywood fire department, which soon arrived and saved the facility. The muslin and scrim were replaced within two days by Tom Mayhew's drapery department, allowing taping on schedule. After the series was canceled, Hines remained at the stage-theater facility until ABC closed the television studio property.
A few of the Las Vegas comedians appearing on the show required the Art Director to adjust or camouflage a prop they used in their routine. In one instance, a comedian sat at a grand piano flipping through the sheet music binder on the piano's music rack. Inserted between the sheet music pages were Playboy Magazine centerfolds, featuring naked models. To comply with the network's Standards and Practices department - the censors - between dress rehearsal and the air show, the Assistant Art Director made paper doll clothes for each model shown in the photograph, covering her with clothing and bathing suits.
During rehearsals, the guest host usually stood on the left camera side of the proscenium, with a high stool for the host to be seated. The Prop Master provided water or a soda. When Joan Crawford hosted, she carried her own "Pepsi Cola", which was already open - and spiked with vodka - onto the stage. The beverage relaxed Joan without any problems (during the taping, the Prop Master provided the "spiked soda"). Crawford was a very gracious lady. After each of her appearances on the show, every member of the crew and staff received a hand-written "thank you" note, sent from her New York City address. Kate Smith, on the other hand, insisted that her "cola" be carried out by the Prop Master, unopened (she did not want any rumors that her can of soda was spiked). She also carried a Kodak brownie camera during her show engagement, snapping pictures throughout her rehearsal and the taping of the show. Upon completion of her host assignment, each crew and staff member received a "Kodak moment" with their picture as they were performing their show assignment; included with the small photograph was Kate's personally signed thank-you note. These two personalities were the only hosts during the six seasons to send a personal "thank you" to each member of the crew and staff.
During the 1966 to 1967 season, Producer Nick Vanoff asked Jim Trittipo and Hub Braden, (his Art Department staff)), to put together an estimate and proposal to expand the stage facilities of the "Palace Stage", which would create a swimming pool beneath the existing stage, two sliding floors on tracks which would be a hardwood stage to cover the pool, and a second tracking ice rink floor which would slide on top of the stage floor. The basement of the stage was an orchestra personnel dressing room, actors and actresses dressing rooms, and storage rooms. The original theater's orchestra pit had been filled with concrete for The Jerry Lewis Show (1963), extending the original stage foot light and proscenium edge forward for a camera and sound area, as a production area in front of the original house curtain line. The proposal included removing this front stage area for the swimming pool feature. A water proof video camera port at the front of the pool, underneath the fore-stage's camera area. Storage of the two tracking stage and ice floors, to video the swimming pool, required rebuilding the stage rear wall; acquiring the real estate behind the actual stage-theater property. The adjacent property behind the theater was owned by the Methodist Church, which had converted the former Knickerbocker Hotel into a Methodist retirement senior citizen care facility. ABC would not negotiate a purchase of the The Knickerbocker-Methodist Church property. Vanoff proposed, then, to move this show to the Culver City Studios movie soundstage. ABC axed Vanoff's proposal, maintaining this show had to remain in Hollywood at their renovated television stage. After the series was cancelled in January, 1970, ten years later, Nick pitched the idea of a very "big variety show" to NBC Television in 1979 to 1980. The Big Show (1980) became a two-hour special premiere, followed weekly with a one and a half hour program format with two celebrity hosts, for each weekly event. Ed Sullivan's original variety show introduction of a "really big show" was Vanoff's dream realized. Vanoff, during the ten years, had partnered and purchased the abandoned Columbia Studio lot at Sunset Boulevard and Gower Street in Hollywood, which was where The Big Show (1980) originated.