Just in case you missed the first time . . .
- 6 June: D-Day On the Air—73 Years Later
- 31 December: Here’s to the New Year
- 24 December: ‘Tis the night before Christmas
- 20 December: From Macy’s to Dickens on the plains
- 12 December: Eden rocked
- 9 December: The aftermath, continued . . .
- 8 December: Immediate aftermath
- 7 December: The date still lives in infamy
- 5 December: The mean widdle man-kid
- 21 November: Freed fall
We’re building a history here . . .
Category Archives: quiz show
Wyllis Cooper has had two only annoyances since launching Quiet, Please earlier in 1947, according to John Dunning in due course: He isn’t fond of people comparing this show to his earlier radio creation, Lights Out, by those who remember only that Arch Oboler took it over and built a career upon that beginning. And, he can’t stand “acting.” “The (Quiet, Please) cast was told to play it straight . . . he wanted it related with a deadpan sense of ‘here’s how it happened’.”
The longest-serving Marjorie Forrester on The Great Gildersleeve had the least radio experience among the three women who played her. But Mary Lee Robb also had one of the swiftest departures from radio acting, though it had nothing to do with her ability.
The legendary Lurene Tuttle gave birth to Marjorie when The Great Gildersleeve spun off Fibber McGee & Molly in 1941, and Louise Erickson took the role in 1944. Erickson was already something of a radio star thanks to playing the title role in A Date with Judy, and Robb was actually a close friend of hers. They were practically the same age, and Robb often stood in for Erickson at Gildersleeve rehearsals when Erickson was committed elsewhere.
Shirley Mitchell was thatclose to giving up on Hollywood entirely when she landed the old-time radio supporting role of a lifetime in the early 1940s.
The Toledo, Ohio native—who died of heart failure on Veteran’s Day, a week after she celebrated her 94th birthday—suddenly found herself a valuable supporting player as Southern widow Leila Ransom, who couldn’t seem to decide whether to marry or mangle The Great Gildersleeve. Indeed, Leila became (in John Dunning’s words) “such a strongly negative character that at one point a California women’s club picketed NBC, urging Gildersleeve with their signs not to marry her.”
When the Marx Brothers (minus Zeppo) signed to MGM, their producer Irving Thalberg decided it was time to go back to the future, kind of.
The Marxes were at loose ends following the expiration of their Paramont Pictures contract with 1933′s Duck Soup. And Thalberg, the youthful producer/director who loved the team personally, reached to the team’s roots in vaudeville and on Broadway for part of his master plan to install the brothers into well-enough-plotted stories.
An Iowa shampoo and soap manufacturer whose signature variety program has shifted little by little toward straight comedy, plus one of Jack Benny’s longtime sidekicks, give NBC its biggest win by a comparatively new program in the 1946-47 radio season. Except that the company’s win helps prove its own loss, kind of.