REPS SHOWCASE . . . You've Heard About It But What's it All About Exactly?

The REPS SHOWCASE is the annual Old Time Radio Convention produced by the Radio Enthusiasts of Puget Sound in the Seattle area each June. This year's convention will be the 20th time REPS has put on such an event. That's right, the 20th time! Can you believe it? In the last year many organizations have shut down their old time radio conventions feeling that the old time radio conventions are a thing of the past and citing declining attendance. Oh sure, twenty years ago it seemed so much easier to find people who loved old time radio. Many more people were certainly around that grew up with radio those few years back. However, there are still many people out there who love old time radio, regardless of their age and believe it or not, they have never heard about REPS, Sperdvac or FOTR or old time radio conventions. We are always meeting these people who have lived in Seattle all of their lives and are just finding out about REPS and they are huge fans of old time radio! How we have not got the message out at least here locally is anyone's guess. I suppose that's our true challenge. We need to find ways to get the information out about the organizations and the old time radio conventions to a larger audience. We're not looking to find thousands of people to come crashing through the gate to attend the convention as if it were Comic Con or Monster Bash. We are not about changing our focus to reach a larger group of people. We are about celebrating those days of Old Time Radio and encouraging the art of modern audio theater. That's where we find that there is a need to fill. REPS is an organization founded to introduce old time radio to a modern audience and to encourage creative people to produce new audio theater. That's the REPS identity and who we are. Sure, every day it's a challenge to find the financing to produce this kind of an event. It's not easy, and being able to continue with another convention the following year is never guaranteed. We do hope that as long as we stay committed and put the kind of effort into it that is required to produce and promote a multi day convention, we can continue to have a successful event. But having a successful event is really up to the fans. If we build it, they must come. It's the fans who have preserved old time radio for so many years and it will be the fans who will be required to keep the conventions going, if they choose to do so.

The REPS Showcase really is a special event. Whether it's meeting the people who appeared in many of our favorite radio shows of yesterday or getting together with other fans who are also attending, it's always a great time to be had. I am sure many radio fans have missed out on attending these events due to price considerations. You can't charge $20.00 for admission for the entire weekend and still invite a dozen or so veteran radio performers from out of town, pay for the facility, the food and a whole gamut of other expenses so obviously the cost for the whole weekend has to be more than $20.00 but let me go on record to say that the life time of memories far exceeds the cost of admission. I had a chance to have dinner with Norman Corwin in 2010 and the same year I sat and talked with Robert Easton (who had an amazing career in Hollywood). Both men have since passed away but these memories will last a life time. I will always treasure the stories that each special guest has told. Hearing Jan Merlin talk about his days on Tom Corbett;
Hal Stone, Bob Hastings and Rosemary Rice telling us about their antics performing when they were teenagers in the lead roles on the Archie Andrews radio show. All great stories.

I also enjoy the many performances that are staged at each convention. Performers love coming to REPS and the creative freedom they have in producing truly fun shows. In the last couple of years Chuck McCann has played Phil Harris in a recreation of the Phil Harris and Alice Faye show as well as performing as Edgar Bergen and Charlie McCarthy in a Chase and Sanborn Hour reenactment. Tommy Cook thrilled us in the title role last year when he performed in a terrifying tale from Lights Out. We have produced thrillers from Suspense, a full production of The Wizard of Oz from The Lux Radio Theater, The Great Gildersleeve (with Shirley Mitchell reprising her original role of Leila Ransom)and many more. The list of shows that have entertained the Showcase crowd the last few years has been too numerous to all list here. We certainly have had a fun time and fans travel from around the country to join the merriment. Barbara Schwarz from Illinois, Joel Klein from New York, quite a few folks from California and more.

Gregg Oppenheimer,Michael Kacey and Tim Knofler have each made the trip up from California to produce and direct shows for the REPS SHOWCASE each year. They have been telling others around the country what a great time they have had going to REPS and they encourage other fans to head on out to the SHOWCASE also. We are really excited that our good friends John and Larry Gassman, hosts of Same Time Same Station will be heading out to Seattle to host a few panels and presentations.

Most of all we are thrilled to spend a weekend with our very special guests:

Terry Moore, worked in radio in the 1940s, most memorably as Bumps Smith on The Smiths of Hollywood. As an adult actress her films included Mighty Joe Young (1949), Come Back, Little Sheba (1952) - for which she was nominated for an Academy Award for Best Supporting Actress and Peyton Place (1957). In 1962 she appeared as a rancher's daughter in the NBC Western drama Empire, opposite Richard Egan and Ryan O'Neal.

Tommy Cook was one of the busiest child actors in radio playing, simultaneously, ‘Alexander’ on Blondie, ‘Junior’ on The Life of Riley, and ‘Little Beaver’ on both radio and in the movie serial The Adventures of Red Ryder. Additionally, he made frequent appearances on The Lux Radio Theatre, Arch Oboler’s Plays, and The Mercury Theatre on the Air.

Ben Cooper, who appeared in more than 3,200 radio shows including Fred Allen and a regular role on Mark Trail

Bob Hastings, who played the title role of Archie on the Archie Andrews series on NBC radio for over ten years.

Gloria McMillan began her performing career at age four on KGW radio in Portland, Oregon. Later, her mother Hazel McMillan, Hollywood’s first female talent agent for children, soon had her working with the industry greats including Jack Benny, Bob Hope, Fanny Brice, Agnes Moorhead, and Lionel Barrymore. Her radio program credits include appearances on The Lux Radio Theatre, The Great Gildersleeve, The Jack Benny Program, The Baby Snooks Show,and Meet Corliss Archer. Too, she created and performed in the role of ‘Harriet Conklin’ on the radio and TV versions of Our Miss Brooks.

Stuffy Singer, was one of the original ‘Beverly Hills Beavers’ on Jack Benny’s radio program, and he appeared often in juvenile roles on shows like The Great Gildersleeve, Suspense, The Lux Radio Theatre, Fibber McGee and Molly, Our Miss Brooks, and Amos ‘n’ Andy to name a few.

Beverly Washburn appeared on the Jack Benny radio show as one of the ‘Beverly Hills Beavers’ and went on to tour with Benny. She became television’s first child star and has made over 500 TV appearances in shows including The Jack Benny program, Dragnet, Adventures of Superman, Wagon Train, 77 Sunset Strip, and Star Trek just to name a few.

More guests to be Scheduled . . .

You see, we still have guests who worked in some of the all time great shows. Why would we stop now? It would be great if everyone could come for every minute but you'll have a great time no matter how long you can drop on in for. I'll be hanging around for the entire weekend. John and Larry Gassman have presentations planned spotlighting events in radio history, and interviews with the special guests. John Jensen will have for us part two of Great Comedians in radio. And to top it all off, radio performances with live music, sound effects, vocalists and top notch performances will highlight the convention. Frank Ferrante will appear as the legendary Groucho Marx. I have heard that Saturday night will feature a larger than life radio variety show. More precise details will be available soon.

The Friday night ice cream social was a big hit last year and it returns for 2012. The ice cream social is a fantastic time to mingle with the stars and enjoy ice cream at the same time.

We just never know how long the magic will continue. Don't be someone who looks back with regret because they missed out and never attended. Consider joining us for this grand Salute to the Golden Days of Radio this June in Seattle at REPS SHOWCASE.

One of the best: Twenty Questions

Back on January 21st, I wrote about my favorite 75 radio shows, with the criteria that to qualify for the list, I had to have heard at least 7 shows.

At that time, I had only heard 5 shows of Twenty Questions. Twenty Questions is just like the game you played as a kid or a teen, where you (actually a panel of five) can ask up to 20 questions to guess whatever the show has cooked up: an animal, vegetable or mineral.

You don't have to be a mental giant to enjoy the show. Twenty Questions was heralded in it's day for being a family show that everyone from blue collar pop to 7 year-old junior could enjoy. It was also different from the rise of the stunt game show, which was widely popular at the time, but also received a lot of negative press as well.

It was fun entertainment then and still is. You will be surprised how quickly a half an hour goes by while listening to the show. I'd probably put it somewhere in the 40's in my Top 75 List...

There are now 10 shows available.
An episode of Twenty Questions is currently being featured On the REPS Podcast as part of the April 1st broadcast of Same Time Same Station hosted by John and Larry Gassman.

This article is published courtesy of the OTRr Buffet( old-Time Radio news, reviews and stuff you can use). l

Vic and Sade - Remembered by Barbara Schwarz

"Well, sir, it's late afternoon as we enter the small house half-way up in the next block now, and here in the living room we find all our friends assembled."

The memory of Vic and Sade has never left me though it has been many years since the above phrase was last heard in its original 15- minute format on September 29, 1944. The memory of this program led me to organize a group called Friends of Vic and Sade way back in 1972. Our goal continues to be the finding and sharing of as many existing copies of this program with each other. It has been a wonderful journey.

Paul Rhymer introduced a unique form of humor to radio writing that became to be admired and extolled by fellow humorists such as Ogden Nash and Edgar lee masters as being the best writing of all-time of great American humor. Ray Bradbury has said of Vic and Sade: "Middle-class America was dramatized lovingly and forever by Paul Rhymer." Stan Freberg, Steve Allen, Richard Schickel, Henry Morgan, Studs Terkel and many others have declared themselves as long fans of the program. It was long known as a radio program devotedly listened to by radio personnel throughout the networks.

Paul Rhymer came to the job with keen observational skills of the human condition based on his childhood experiences, education in high school in Bloomington, attending Illinois Wesleyan University and learning from a wide variety of jobs. He wrote articles and stories as he matured, so he he looked forward to taking a job in the NBC community department in 1929. NBC decided to broadcast a program Mr. Rhymer had developed, Vic and Sade. The sketches were based on his experiences related to ordinary people and incidents of every day life. Mr. Rhymer used his sense of humor to give these sketches a unique flavor that few listeners would ever forget once heard.

The first sustaining broadcast was on June 29, 1932 on KYW (NBC, Chicago) at 8:30am. Management did not really know if anyone was listening that early in the morning. After a month on the air, the audience was asked if anyone was enjoying this early hour program. NBC received 5,000.00 replies of support. The program had two short term sponsors before Proctor and Gamble became the permanent sponsor on November 5, 1934. This program survived many broadcast time changes over the years.

NBC was fortunate to choose Bernadine Flynn to play Sade. Miss Flynn came with a fine background in theater while attending the University of Wisconsin, gaining experience in New York theater, and returning to Chicago to become a seasoned radio performer. She interpreted the role of Sade as a devoted wife and mother, who had a sharp tongue at times, but always supportive of her family and friends. We knew Sade sewed some of her clothes and belonged to the Thimble Club. We knew Sade's best friend, Ruthie Stembottom, who went to wash rag sales with Sade down at Yamilton's department store. Sade made it very plain how she disliked Miz' Applerot, who had a snooty attitude toward many of the members. Sade loved a bit of gossip but was never cruel. Who can forget that the beef punkles never wore down on time and the many boring letters from sister Bess that Sade insisted on reading about how Walter's kneecap had let up on twinges and daughter Eunice was learning the piano.

Art Van Carney assumed the role of Vic as the chief accountant of the Consolidated Kitchenware Company, plant No. 14 and being the Exalted Big Dipper of the Sacred Stars of the Milky Way lodge with relish. Mr. Van Harvey was able to fill his role to perfection because of a background filled with experiences from sales positions in various forms as well as being an actor in vaudeville. Vic could be vain and pompous at times but always was a devoted and supportive family man who could see the humor in situations sooner than Sade at times.

Within about ten broadcasts, Mr. Rhymer realized he needed another family member to expand the story line. This was depression time and some families needed help to care for a child or two when the father was out of a job. Sade convinced Vic to take in a son of one of her very good friends for a time. Thus the speaking role of Rush was introduced t the broadcast on July 15, 1932.

Bill Idelson had experience in playing roles in children's theater, in radio as Skeezix on WGN, and a regular role on KYW's Checkerboard Fairy Tales. He admits that he was somewhat reluctant to take another radio role when told of another audition opportunity at NBC; however, he realized within a very short time of playing Rush that this was a special program and very glad he was chosen.

With Rush joining the family Mr. Rhymer was able to enliven and demonstrate Vic's great affection for Rush by often addressing him with such wonderful names as Mr. Hoolsch, ink eraser, stove poker, pocket watch, coal oil, oyster cracker, etc. The list is endless. Rush's friends were legion: Blue-Tooth Johnson, Smelley Clark, Nicer Scott, Rooster and Rotten Davis, and Leroy Snow to name a few. They attended school together, played ball at Tatman's vacant lot, watched the fat men play handball at the YMCA, and went to the movies to see Gloria Golden and Frank Fuddleman in their latest adventures.

Vic would regal us with his always serious regard for the Lodge and its members and rituals. Vic belonged to the All-Star Marching Team along with Homer U. McDancy, H.k. Fleeber, Y.Y. Flirch, Robert and Slobert Hink, O.X. Bellyman, I. Edson Box, J.J.J.J Stunbolt, Harry Fie, Hermie Wermie, and E. Tyson Stooger. Thye never marched together. Who can forget the founder R.J. Klonk? Vic was always trying to convince Sade that he needed another item that was listed in the lodge catalog. Vic's friends, such as Rishigan Fishigan from Sishigan, Michigan, who lived in the penthouse at the Bright Kentucky Motel, can never be forgotten. Hank Gutstop was the Little Dipper of the Lodge and was a thorn in Sade's side for borrowing money from Vic and never paying it back. Vic made us aware of his co-workers at Plant # 14 including his boss, Mr. Buller. Lolita di Renzi was in the box department. She played the tropical guitar and tried to teach Vic to play the Caribbean dream flute. Sade disliked her, of course.

In August of 1940 Mr. Van Harvey had a heart attack and could not perform. To fill the need of a third speaking part, Mr. Rhymer brought in Sade's Uncle Fletcher, who had been referred to via letters for quite awhile. Clarence Hartzell auditioned and was immediately hired, He came with solid radio experience earned in Cincinnati and Chicago radio. Uncle Fletcher was a delightfully eccentric character who had "selective hearing" in all situations. Uncle Fletcher was a relative who could make you love him or irritate you with his affinity to the special friends in his world. Mr. Rhymer used Uncle Fletcher to express his quirky sense of humor. Fans took to Uncle Fletcher, and family life took on an added dimension. Vic returned to the show by September.

I doubt anyone could forget Uncle Fletcher and so many of his friends. B.B. Baugh invented and sold Stingyberry Jam that wriggled and writhed in the jars. He also invented Hyena grease, the best and smelliest shoe polish, so he claimed. Roy Dejectedly wanted to go into partnership with Fletcher to buy the Little Tiny Petite Pheasant Feather Tea Shoppe. Fletcher fraternized with Ernie Fatler, ticket agent at the interurban train station, and the list goes on.

In 1942 Mr. Rhymer had to adjust the family story line because Bill Idelson left to serve in the Naval Air Corps. By June 1943 David Whitehouse, 13 years old, took the part of Russell, the orphaned nephew of Vic's boss, Mr. Buller. No scripts exist to explain Rush's departure. The character id Russell just stepped into Rush's shoes.

The last broadcast of the original 15-minute format aired on September 29, 1944. There was a little or no warning of the cancellation. There were several more revivals of Vic and Sade. 1945: August- September, CBS ran a 15 minute version of Vic and Sade. This version contained speaking parts for everyone in the scripts using talented Chicago radio players. 1946: Mutual ran a June - September half hour version again with speaking parts done by Chicago actors. 1947: There is minimal evidence of a possible television effort on ABC in December. 1949: In July Vic and Sade appeared on three Monday night television performances on Colgate Theater on a trial basis. Only Miss Flynn was used. 1957: NBC ran eight 15-minute broadcasts on television in black and white with Miss Flynn and Mr. Van Harvey. Rush was played by Eddie Gillian.
Paul Rhymer created a full picture of their friends and neighbors because of his talented writing. He gave us such succinct characterizations of these relatives, friends and neighbors that we knew them without ever hearing their voices. Also due to his writing skills we knew the town and environs as though we lived there, and in many ways we did.

(The author, Barbara Schwarz, is a delightful and friendly fan of old time radio and will be attending the REPS Old Time Radio convention this coming June 2012. She would love to meet and chat with other fans of Vic and Sade.)

Recollections of working on the Great Gildersleeve

By Dick Beals

It always gave you that nice warm feeling when the call came in for a Great Gildersleeve show. It was that kind of show that started with a director who was a real pro. Most actors knew that to be on time meant arriving 15 minutes early. In this case the director was there waiting for us with his motor running. The scripts were spread neatly on the large conference table in the studio, a needle sharp pencil sitting beside the script, your name on the script beside the part, or parts, you were to play. Of course most of us arrived pen and/or pencil in hand (or pocket) but on this show it was traditional to use "the director's" pencil. 6'4 Willard Waterman saunters in, talking to anyone that might be listening about "my sensational 7 iron on 16 that was a gimme bird". The lovely Shirley Mitchell is smiling and applauding him, although she knows nothing about golf, a 7 iron and especially a "gimme bid". But once those two are circling the table, script and needle-sharp pencil in hand, the chatter begins. The moment the director enters the room, it's all business, with polite greetings, scripts poised, sans paper clips. Seeing this the director quietly says . . . "ok, page one please, Music in and under for . . . Announcer . . . " The first reading is used only to acquaint the actors with the words and phrases. The leading performers read correctly first and drop into their character somewhat. The extras, so to speak, create their characters full blast, trying ti impress the director. The director listens intently, makes notes, occasionally gives a direction for better timing, or suggests a change in age, attitude, or "sell that joke, Ed, to give Gildersleeve a better lead-in for his tag and the music." When the table reading is finished, the production rehearsal is next. The sound effects pros are already in place, the music is ready, the engineer has the mikes all set, the director zips into the control room, and those in the first scene are on mike, scripts and needle-sharp pencils at the ready, all eyes waiting for the directors cue. The well known regulars move into their parts with a bit more effort. Everyone else sharpens their characters, sells the laughs with more gusto and, especially the newcomers, pad their parts to impress the director. Before air time the director reviews all of his notes, and maybe goes over a scene once or twice. If the writers are in the booth this happens more often because their jobs are on the line too. Their rule is . . . "if it aint funny, make it funny. The sponsors are paying for laughs, especially leading into their commercials". When its show time, everyone goes full blast, the jokes are funnier than ever, the characters are powerful, sharp and suddenly, just like that, its all over. All eyes are on the booth. The engineer slowly raises both hands to indicate that all knobs are on zero. Is it celebration time? No! The cast places their scripts and slightly dulled pencils on the table, engages in small talk going out the door, says something nice to the director in the booth and heads for the parking lot. It's only another day, another job, another pay check. Oh well, that's show biz. (Dick Beals was an actor who appeared regularly on many of the most popular programs on radio including Fibber McGee and Molly, Gunsmoke, Suspense, The Great Gildersleeve and many others.)

Going Back to Summerfield with the Great Gildersleeve

When I was first introduced to the Great Gildersleeve so many years ago, I loved the show immediately. A local station in Seattle was playing old time radio shows late at night and the station would occasionally broadcast an episode of the series. There were also those crazy appearances Gildersleeve would make on the Fibber McGee and Molly program (another series the radio station ran even more frequently.) The specific programs I heard were hilarious and I became an instant fan. Then something happened. Many years later I became tired of the show or the character . . . or something. I no longer cared for the program. Admittedly, I wasn't even really listening anymore. I would turn on the program and it always seemed to be in the middle of Gildersleeve singing with the Jolly Boys -- again! My interest in listening to the programs had faded. Whenever it came on the air I would do something else. It's kind of a shame because now that it's ten years later I have to wonder to myself, what was I thinking? This is a great radio series! Having given the show a good listen again I have discovered that the writing is good and the characters are well developed. For this listener anyways, the town of Summerfield has a strong resemblance to Mayberry (the town featured in the Andy Griffith TV series a few years later). I found both towns very charming and places that I would actually visit if they were actually towns that existed. Gildersleeve was the water commissioner in the town of Summerfield but when we first got to know him he was a resident of Wistful Vista and a regular character on the Fibber McGee and Molly program. "Wistful Vista! Coming to Wistful Vista! the conductor announces as the train arrives in the small but very well known town.

"Oh Wistful Vista!" excitedly exclaims an older lady passenger as she inquires "where Fibber McGee and Molly live?" "Yes Madam" answers the conductor. "Oh My! You think I will be able to see them from the train window?" "No Lady, the McGee's are on their vacation" answers the conductor. Quickly realizing the disappointment of the passenger, the conductor point out to her., "But say, there's a next door neighbor of their's, Throckmorton P. Gildersleeve . . . And so opened the first episode of The Great Gildersleeve broadcast on August 31, 1941. We are next introduced to Gilderlseeve standing on the train deck talking to his Gildersleeve Girdle works employees who have come down to the station to see their boss off. One employee is heard to ask "How long will you be gone TP? "Just till the end of the week" answers Gildersleeve. Gildersleeve was off to summerfield to adminster the Estate of his brother in law and the affairs of his niece, Marjorie, and nephew, Leroy Forrester. Marjorie was 19 or 20 and Leroy was 12. Gildersleeve would never make it back to Wistful Vista except for an occasional visit and the program would become one of the most popular radio shows on the air running until March 21,1957. But who was this Gildersleeve character who delighted radio audiences for so many years? Back in the 1930s Don Quinn, the creator of Fibber McGee and Molly, wanted a new character on the show and created Gildersleeve. Cliff Arquette played an early Gildersleeve character on April 13, 1936. On the broadcast of May 4th,1936 the character was given the first name of Cliff. It would be two years before the name Gildersleeve would be used again and would then be played by Hal Peary. Peary joined the show in 1937 and became a regular stooge on the McGee show. . He played many different roles before he started playing various characters all names Gildersleeve. He was Widdicomb P. Gildersleeve, president of the baby carriage factory on September 20, 1938, an optometrist, Donald Gildersleeve on April 25, 1939 and later a dentist, Leo Gildersleeve. Hal Peary came from San Francisco radio where he was a singer and an actor. Hal lived on a street called Throckmorton Place in Chicago at the time and writer Don Quinn took the name for the character. On October 17, 1939 the radio audience was introduced to Throckmorton P. Gildersleeve. Throckmorton P. Gildersleeve lived right next door to Fibber McGee and Molly. The relationship between Gildersleeve and Fibber was a mix of good old pals quickly turning into neighborly feuding and rivalry producing some of the funniest moments on the show. The famous Gildersleeve laugh came about on Fibber McGee and Molly also. Hal had used the laugh previously during his days in San Fransisco radio. On one McGee live broadcast when the show was running short, the director signaled the cast to "stretch" which means slow down or add dialogue. Noticing the direction, Hal added tehe "San Fransisco" laugh while reading opposite Jim Jordan. The laugh received a great response from the audience and Jim Jordan signaled for him to do it again. There was thunderous laughter and a signature laugh was born. Gildersleeve would become the main comedy foil to Fibber until 1941. At that time an executive of Johnson's Wax wanted to create a new summer replacement series for Fibber McGee and Molly and considered building the show around the Gildersleeve character. Johnson's Wax produced an audition in May 1941 starring Hal Peary with Harlow Wilcox as the announcer. It's basically the same script that was used on the first Gildersleeve show of August 31, 1941. One big difference was that the character of Marjorie was named Evelyn in the audition. The company, Johnson's Wax decided to go with Ransom Sherman for the summer time replacement instead. The executive who created the Gildersleeve show was upset and instead sold the program to Kraft Foods. Kraft would own the show until 1954. Hal Peary would star and stayed with the show until the end of the 1949-1950 season. During the famous CBS talent raids of the late 1940s a deal was made with Hal Peary to go over to CBS from NBC. Unfortunate for Peary, the Kraft company, who owned the show, did not want to leave NBC, thus Hal was left without a program. A new program was quickly developed for Hal Peary and began in the fall of 1950 on CBS titled Honest Harold. It sizzled quickly and only lasted and only lasted one year. Hal left Hollywood for New York where he became a Disc Jockey. ( ed note: All the "Honest Harold" shows are in the REPS CD library ). Willard Waterman took over the Gildersleeve part on September 6,1950 and remained until March 21, 1957. Willard was a Chicago based radio actor who worked on many shows with Hal Peary during the 1930s. In fact when finding themselves part of the same cast of a program they would get together before the program to decide which of them would use a high voice and who would use a low pitch. This was necessary so that they would not sound too much alike on a program so as not to create confusion for the listening audience. They sounded so much alike otherwise. This of course was an asset to NBC when Waterman took over the Gildersleeve role as many listeners never noticed that there was a change.

Live Radio Drama is Featured at the REPS April Meeting

Saturday Afternoon April 7th is the next REPS Meeting in Seattle Washington. For the meeting, The REPS group will be presenting - live radio drama - in a REPS version of the Ghost of Benjamin Sweet from 1938. The production will feature live sound effects and a talented cast. If you are in the area, we encourage you to drop on by and be in the audience for this afternoon of fun. If you are outside of the local area, we will have an Audio of the show posted on the REPS web site shortly thereafter. For more information go to the REPS web site.

The Woman Who Taught Us to Listen: A Centenary Tribute to Lucille Fletcher - WNYC Culture

The Woman Who Taught Us to Listen: A Centenary Tribute to Lucille Fletcher - WNYC Culture If the much-quoted tag line from “The Shadow,” “Who knows what evil lurks in the heart of men? The Shadow knows!” (followed by sinister chuckle) is your idea of Golden Age radio, you don’t know Lucille Fletcher, who was born 100 ago today. A demure Vassar graduate from a working class family, Brooklyn-born Fletcher was the author of two of the most famous radio dramas of all time — “The Hitchhiker” and “Sorry, Wrong Number.” Radio drama in the 1930s and 1940s was male dominated, and Fletcher initially got an entry-level job at CBS as a typist, but eventually began submitting work of her own. Once accepted into the ranks of radio dramatists, she helped to transformed the medium. MORE . . .