C. B. Pills the Strings

C. B. Pills the Strings—

Here’s How Lux Radio Theater Maintains Top Rating Year After Year

LUCK and long shots play no part in the year-after-year success of “Lux Radio Theater.” The consistently high quality of its productions is due in great measure to C. B. DeMille, wizard producer, with his million-dollar-star contacts in Hollywood and his uncanny ability to choose plays that are adaptable to the medium of radio entertainment. Furthermore, C. B. knows how to pick assistants—men like Charlie Forsyth, who handles all the sound-effects heard on the show; George Wells, radio playwriter who does the scripts. For every play from stage and screen must be “tailored” to fit radio technique. And Wells has been doing the job ever since the first airing nine years ago. Typical of the all-star casts Mr. DeMille picks for the show is the trio shown on these pages. Flawless performances given mean not only vision on the part of the producer and his helpers, but endless revision—gruelling hours spent in rehearsals that last long into the night. Work begins on the next show as soon as the Monday night performance is over. Tuesday, maestro Lou Silvers begins music rehearsals. Wednesdays, the cast gets together for a first reading of script. Thursday rehearsal is an all-night chore which often continues far into the next morning. By Friday night the full script has been read at least fifteen (Continued on Page 61)

11 WEDNESDAY Cecil B. DeMille show’s producer, and Loretta Young chalk up callboard for “The Philadelphia Story,” in which Miss Young. Taylor, Robert Young starred on Lux program

22 STARS that appear on “Lux Radio Theater” shows are a great help to George Wells, writer of scripts. Above: Loretta and the two Roberts go into a huddle to smooth out some difficult lines

33 THURSDAY night after first rehearsal two Bobs say good night in theater’s parking-lot as Taylor steps on starter of his motorcycle, roars off. He’s now in the U. S. Navy with a lieutenant (i. g.) rating

44 FRIDAY stars plunge into second rehearsal for show. During this period dramatic sequences, introductions, commercials are timed separately and recorder for “playback.” Above: Trio at work

55 SUNDAY stars gather with producer DeMille in control-booth, listen to recording of play made at Friday’s rehearsal and mark scripts for “retakes,” strive for perfection

66 CURTAIN CALL—The play is done and stars, together with supporting cast and producer DeMille, acknowledge applause of the studio audience—those 1,100 persons lucky enough to obtain tickets which give them opportunity to hear and see the show staged at CBS’ Playhouse on Vine St. in Hollywood

77 STICKLER for detail in radio showmanship as he always has been in movies, producer DeMille isn’t content with studio-made sound-effects in “Lux Radio Theater” shows, has Charlie Forsyth, sound-effect engineer, roam around for authentic “live” sounds he can incorporate into programs

"Was Jack Benny Gay?": The Amount of Weight In Jack Benny's Loafers

While doing research for an article I came across an unexpected search result: "Was Jack Benny Gay?" There was no more than the question as previously stated from the original poster, but the replies made for interesting reading, ranging from: Jack Benny Celebrating his 39th Birthday "Of course not, he was a well known skirt-chaser in his youth, and he was married to Mary Livingston for many years" "Sure he was, everyone in Hollywood with the possible exception of John Wayne was and is homosexual!" "Part of Benny's "schtick" was his limp-wristed hand-to-face gestures. He was not gay, but emphasized what his fans observed as "acting like a girl" for humor. While heterosexual Benny tried to gay it up, many really gay actors or comedians in those days tried to act as "straight" as they could muster." "... the idea behind his character was to have him a little on the ambiguous side. His charact

OLD TIME RADIO ACTORS AND THEIR ROLES, AND OLD TIME RADIO PROGRAM

Old Time Radio Actor's Name, Character Played, Program Aaker, Lee Rusty Rin-Tin-Tin Aames, Marlene McWilliams, Lauralee Story of Holly Sloan, The Abbott, Judith Lawson, Agnes Aldrich Family, The Abbott, Minabelle Sothern, Mary Life of Mary Sothern, The Ace, Goodman Ace, Goodman Easy Aces Ace, Goodman Ace, Goodman Mister Ace and Jane Ace, Jane Ace, Jane Easy Aces Ace, Jane Ace, Jane Mister Ace and Jane Adams, Bill Cotter, Jim Rosemary Adams, Bill Hagen, Mike Valiant Lady Adams, Bill Roosevelt, Franklin Delano March of Time, The Adams, Bill Salesman Travelin' Man Adams, Bill Stark, Daniel Roses and Drums Adams, Bill Whelan, Father Abie's Irish Rose Adams, Bill Wilbur, Matthew Your Family and Mine Adams, Bill Young, Sam Pepper Young's Family Adams, Edith Gilman, Ethel Those Happy Gilmans Adams, Franklin Mayor of a model city Secret City Adams, Franklin Jr. Skinner, Skippy Skippy Adams, Franklin Pierce Emcee Word Game, The Adams, Guila Mattie Step M

Old Time Radio Shows "Transcribed" Explained

What does it mean on old time radio shows when you hear the show is "Transcribed"? During the Golden Age of Radio , "transcribed" programs were recorded and sent to stations or networks on a disc running at 16 rps. The discs are larger than 33 1/3s. "Transcribed" means it was recorded on a disc. "Recorded" was a term that was known, of course, but not used very much in Radio's Golden Age. During the era, it was also considered very important to distinguish which shows went out live and which were recorded (transcribed), so if a show was transcribed it was announced as such. "Transcribed" was a colloquialism of the era. One reason they came up with it was because there was still enough skittishness about recording that "pre-recorded" sounded a little obscene inside the industry. CBS and NBC were live through the '30s and '40s. Yet line transcriptions were made for either the sponsor or its ad agency.

Golden Age of Radio

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