The title story of Blackwood’s first collection of short stories…
December 21, 1953“The Empty House”
December 22, 1953“The Empty House”
Jocelyn Bradford (adapter), Valentine Dyall (reader).
BOOK AT BEDTIME—“ALGERNON BLACKWOOD GHOST STORIES”
August 1, 2006“The Empty House”
house…”]
“Based on Irish folk legend… On the Island of Aran, a man thought to have died
at sea returns to shore guided by the cathedral bells described in ancient Irish
legend.”
Andrew Allan (producer—1940), Peter McDonald (producer—
1949), Arch Oboler (scriptwriter, producer—1939).
May 6, 1939 “The Engulfed Cathedral”
June 3, 1940 “The Engulfed Cathedral”
Oct. 7, 1949 “The Engulfed Cathedral”
“Fiction presented under the guise of authenticity is confusing,” complained
Washington Postcolumnist J. H. H. four days after the March 10, 1936 broadcast
of “The Petticoat Ghost,” an episode of the NBC seriesCrime Clews(formerly
known asEno Crime Clues). The broadcast had created a bit of a stir when a
number of listeners thought that the events in the story were really transpiring.
MiddletownTimes Herald, February 27, 1936]
“Boy, things have come to a sorry pass under the New Deal when one of our
major radio networks has to import British ghosts for a special spook program
March tenth. The British spooks will be microphoned to American radio
audiences by short-wave from a haunted manor house on the outskirts of London
over NBC. Mikes will be brought into the spook house at night and an announcer
or two will be on tap to try to coax from the spirits their usual moans, groans,
chain-clankings, shrieks, wall-tappings, stair-creakings, etc.
“But don’t think for a minute our rugged American spooks are going to sit back,
twiddle their thumbs and let the British get away without competition. Not on
your life! Feeling that native ghosts must resent the importation of foreign spooks
and are sufficiently patriotic to assert themselves, a commercial sponsor has
arranged a ghost house broadcast from New York on the same night over the
same network. As yet no house has been selected, but several old mansions with
ghostly associations in and near New York are being considered. Ghosts probably
will be auditioned early next week. And those with the spookiest repertoire of
noises will be given a chance to crash the air in the big All-American spook
program and show a listening world that the British haunts haven’t a thing on
them. Just the same, we’re betting two-to-one on the British spooks because
they’ve had more experience.”
Middletown Times Herald, February 29,
1936] “Want to convert that idle house of yours into a gold mine? Then hire a pet
ghost and watch the shekels roll in to poppa. Two nights ago we stated a
commercial sponsor, seeking to offset a spook broadcast from a haunted house in
London, planned to air a spook program from some haunted house in or near
New York. But now it appears his play may be shelved because he can’t find an
untenanted haunted house. He employed a dozen detectives to locate a first-class
spook joint for his broadcast, and after a week of intensive scouting they reported
that every house with a good ghost record was occupied—chiefly by society folk
who thrilled to the unusual entertainment possibilities a haunted home afforded.
Real estate men then assured the sponsor that an obliging ghost on the premises
is a decided asset and that haunted houses are worth a premium.”
Modesto Bee, March 8, 1936] “There was a time, and not so long
ago, when radio was considered spookish.
“People with head-sets were amazed as they pulled in strange noises from the
ether. It was eerie, unbelievable.
“Actually, however, there were about as many spooks in radio as there are in
haunted houses, as the producers of Crime Clues have found out.
“All this week, they have been looking for an authentic haunted house in New
York to be used as a setting for next Tuesday’s broadcast in the man-hunter
mystery series.
“They have found that ghosts do not cause all of the clanking of chains, the
dismal moaning and the nerve-wrecking banging of doors and many of the
‘haunted houses’ got that way through bad plumbing, unoiled hinges and liberal
dashes of imagination.
“While there are several old mansions in New York with excellent ghostly
records, the best ones are occupied. This is because society people have rented
them for the unusual entertainment they offer guests. Indeed, the real estate
fellows say an obliging ghost on the premises is a decided asset and such houses
are now worth a premium.”
[Washington Post, March 14, 1936] “Just see what comes in the mail from the
sponsors of ‘Crime Clews’:
“ ‘Maybe it indicates many radio listeners are reading their newspapers,
working on income tax returns, playing bridge or otherwise diverting themselves
while their radio sets are turned on, but a great many of them missed the
announcement made on the ‘Crime Clews haunted house’ broadcast last Tuesday.
And as a result, thousands of listeners phoned their radio stations asking if the
murder really had been committed on this program.
“ ‘The broadcast came from the basement kitchen of the famous old Conference
House on Staten Island, reputed to be haunted. During the program, a murder
instigated by a spook was committed.
“ ‘However, in the preliminary announcement that went on the air from the
studio before the broadcast was shifted to the Conference House, it was twice
stated specifically that listeners would hear another ‘Crime Clews’ story. Again at
the end of the broadcast, it was announced a story had been presented.’
“The announcement then goes into detail in respect to the number of calls
received—at Conference House, Radio City and other stations. It continues:
“ ‘Prior to the broadcast, newspapers carried stories which pointed out that,
while every opportunity would be given the Conference House ghost for
broadcast there would be a regular ‘Crime Clews’ drama, entitled ‘The Petticoat
Ghost’ presented. (Note: I was one radio writer who failed to ‘hear’ that
announcement, also.) Producers of the show, anticipating the ghosts would
probably be mike-shy, felt that listeners would be bored with a mere description
of the house, so a special ghost mystery was prepared. In the story, however,
‘breaks’ were provided so that spirit noises could be put on the air if such noises
developed.’
“It seems to me the above is a remarkable document. A lot of heads were
together, no doubt, for some time in working out the precise wording. Radio
sponsors learned early in the broadcst business that the public does not like to be
hoodwinked or deceived.
“As a recipient of the publicity mentioned and also as one who listened to the
program, I would say that ‘Crime Clews’ earned all the kickbacks they received on
their scrambled and confusing broadcast of ghost manifestations.”
Decades later listeners still remembered this broadcast. “My favorite weekly
radio show, after I did my school work, was theEno CrimeClues,” recalled 76-
year-old Lou Wagner in 2000. “Their shows were very realistic. They had one
show where I thought the murder actually happened…ala Orson Welles—‘War of
the Worlds’.”
W???, New York City, New York (NBC-
March 10, 1936.
None.
March 10, 1936“The Petticoat Ghost”
of the American Psychical Institute
and one of the outstanding authorities
on the supernatural, will take a leading
role in the ‘haunted house’
broadcast…”]
built by an ill-tempered, iron-fisted sea
captain in the 17th century, with stone
walls three feet thick and a dungeon
where slaves were punished, will be
the scene of the Crime Clues ‘haunted
house’ broadcast… Among the
assorted ghosts who are supposed to
sing Harlem lullabies and drag
assorted hardware around the mansion
during the dead of night are those of a
girl who was given the run-around by
one of the later Billopps and a slave
girl who was bumped off in the attic.
Also it is said that some of the men
before the mast resented the Captain’s
strong-arm methods and returned to
make his life miserable. Dr. Hereward
Carrington, psychic authority, will be
on hand to attempt to find the causes
of any ghostly sounds that may or may
not be heard during the broadcasts. If
none of the spooks show up, the
mystery drama of the evening, titled
‘The Petticoat Ghost,’ will be staged in
the old house, over a ghost-to-ghost
hookup…”]
THIRTY MINUTE THEATRE
*FOUND*Enoch Soames Max Beerbohm R4 3.6.1997/1400 Nigel Anthony/David
Bannerman/Ioan Meredith
Esylt Newbery was an lecturer on the Far East who had lived in the Orient for
nearly twenty years, first as a governess and then as a teacher at the Cathedral
Choir School in Shanghai. Once back in England she broadcast sporadically in the
mid-Twenties, oftentimes on the subject on Asian legends and ghost lore. A
number of her talks were broadcast as part of a regular Friday-night series,
Eastern Cameos.
saw two or three hundred people, all carrying lighted paper lanterns swinging at
the end of a string… It appeared that the people were holding the annual ‘walk of
the ghosts’ when the spirits of the dead return by special invitation to visit their
loved one on earth. ‘They come,’ he said, ‘from the ‘Land of Shadows’ at sunset,
and they must return at midnight’… [At] midnight…the market square emptied as
the people dispersed to their homes to fetch the little ‘Ghost Boats’ which were to
take the visitors home. We all went down to the river where the tiny fleet was
launched, none of the boats more than six or seven inches long, but each carrying
its tiny lighted torch or a lantern at the prow, and a little heap of food to sustain
the unseen voyager on the journey.
“The ghosts cannot come unless they are invited. In some parts of China they
build little houses for them, with real little gardens outside, and inside paper
chairs and tables with food set out, and bowls of clean water for the ghosts to
wash themselves after the journey. The people of the East are much occupied
with death and the dead.”
“…another year—1926—was with us. I don’t remember how it all began, I think
it was through meeting some of the Cardiff personnel at a Garden Party given by
the B.B.C. at Weston, but I began broadcasting from the Cardiff studios, and I
kept it up fairly regularly for the next three years. I did a long series at one time,
for fifteen weeks, every Friday night from seven till a quarter past. The ‘Talks’
were known as ‘Eastern Cameos’, irreverently known to the staff as ‘Miss
Newbery’s Camisoles’. Arrangements in those days were pretty happy-go-lucky.
The studios were only a couple of small houses in a terrace. I would walk in past a
commissionaire sitting on a chair near the door, and he would touch his hat with
one finger and say, ‘Good evening, Miss, you’re in Number Three.’ The room had
a silent swing door, a thick carpet, and was entirely hung with drapery. Even the
ceiling was festooned with it. One had to stand at a tall desk the whole time with
what looked like a large meat-safe in front of it. My paper, in my own
handwriting, would be on the desk, and lying beside it would be a card saying
‘Don’t rustle your papers’.
“After a bit an announcer would come in, say ‘Come for your Camisole?’ or
something equally original, and after the usual light signal, I would be
announced, and then left alone to read my paper. Sometimes a man would come
soundlessly into the room, take me by the shoulders and push me closer to the
meat-safe, or else pull me back. Sometimes I had a printed card on the top of a
short pole pushed before my eyes with ‘You are talking too fast’, or some other
bright remark. Ineverhad to rehearse beforehand. Then, leaving my next week’s
talk on the desk, I left, having first had to stand still while the announcer,
breathing down my neck, would say, ‘That is the end of Esylt Newbery’s talk on
the Far East for this evening, she will be here again for another Talk at the same
time next Friday.’
“Then a brief pause, while we both looked for the light over the door. Then
would come: ‘And now, here is Fat Stock Prices for Farmers.’ For some reason I
did not understand, the Fat Stock Prices were not given from the studio in which
I had given my broadcast, but from somewhere else, and as soon as the notice
was given, the light flickered again, and we could talk. One dreadful evening,
when I though the light had gone, in order to make the announcer laugh, I put my
face close to the meat-safe and, putting on a broad Welsh accent, I said, before he
could stop me, ‘Now, there’s a luffly treat for you!’
“At that moment, to my unspeakable horror, the light over the door twinkled a
moment and went out.
“You should have seen that announcer! He doubled up with laughter, slapped
his thighs and danced all over the room. ‘Nowyou’ve done it!’ he said. ‘No more
camisoles foryou, my lady! You’ll get the sack, you see!’
“But I never heard a word about it!
“One Christmas Eve, I was to give a broadcast on ‘True Ghost Stories’, and to
have half an hour instead of my usual fifteen minutes.”
The Argus, September 25, 1945] “One reason for
that curious Japanese message of condolence when President Roosevelt died was
suggested by Esylt Newbery, in the BBC Listener for June 28. ‘Most people in this
country,’ she said, ‘have no idea how much the Japanese fear, not death, but the
dead. The Japanese believe that after death souls pass on to the ‘land of the
shadows,’ where they deteriorate in character, become spiteful and jealous, and
are restless and unhappy, always longing to return to this world. These spirits of
the dead are far more powerful and influential, the Japs think, than they ever
were in life, and the great thing is to propitiate them and keep them if possible
contented in the spirit world, for if once, they take offence they could do mortals
very great harm.
‘When President Roosevelt died insults of every sort came from Hitler, but the
Japs sent a polite message of condolence to America. And into the bargain, when
Stalin spoke at a diplomatic gathering in Moscow on the passing of the great man,
and proposed that everyone should stand for a minute’s silence in the late
President’s honour, the Japanese Minister joined in with alacrity. As far as I
know all this wasn’t in the least because the Japs liked or respected President
Roosevelt, but because they simply dared not do otherwise. In short—the Japs are
far more afraid of Mr. Roosevelt now that he is dead than they were when he was
alive.’”
5WA, Cardiff (BBC).
Various dates between 1926 and 1929.
Esylt Newbery (speaker).
None.
July 30, 1926 “Folk Lore and Fairy Tales of
China”
Aug. 20, 1926“Some Strange Chinese
Superstitions”
April 7, 1927 “Some Strange Chinese
Superstitions”
April 14, 1928“More Ghosts, and other
Uncanny Happenings”
Dec. 22, 1928 “More Ghost Stories”
The British seem to have taken to ghostly broadcasting more than their
continental neighbors…
Cited in Heinz Schwitzke's bookDas Horspiel: Dramaturgie UndGeschichte
(1963). It is identified as a Rolf Reissmann production, done in Berlin in 1934,
but it is not clear whether it was a regular series or not. Possibly based on the
1932 bookGeister, Ganger, Gesichte, Gewaltenby Friedrich, Freiherr von
Gagern. Although the book has never been translated into English in its entirety,
two stories from it were included inThe Dedalus/Ariadne Book of Austrian
Fantasy.
The title translates literally asGhosts, Corridors and Faces.
Hair-Raisers: TheTimeslisted this title in their foreign station section on
Monday, March 19, 1934 in a 4:20-4:40 PM slot (Greenwich time). The following
Monday (26) the same time period was listed simply as “Reading.”
Horror Knocks: Listed as one-act play by Rybrant. Most like Gosta Rybrant,
writer and lyricist who wrote a series ofkriminalromanenin the late twenties
and early thirties.
SEE ALSO: SPUK.
Various.
Various.
Meinhard Maurberlin (reciter—1925,Grotesque Recitations),
Rolf Reissmann (producer—1934,Geister, Ganger und Gesichte).
None.
GROTESQUE RECITATIONS BY MEINHARD MAURBERLIN
June 9, 1925 “The Ghostly Laugh in the
Chorus” (by Heinrich Heine) /
“Scene from ‘The Sandman’”
(by E. T. A. Hoffmann) / “The
Raven—Part II” (by Edgar Allan
Poe) / “The Gallows’ Song” (by
Christian Morgenstern) / “Uncle
Casper’s Red Nose” (by Wilhelm
Busch) / “Humorous Selection”
(by Mark Twain)
June 21, 1925 “Spuk”
Feb. 9, 1928 “Reading and Recitations on
Ghosts and Spirits”
Feb. 15, 1928 “The Fateful Carnival Night”
by Recital of Ghost Stories…”]
Sep. 17, 1928 “Krischen Schmoer” (by
Lillen??ton) / “La Morte” (by
Guy de Maupassant) / “Des
Bettelweib von Locarno” (by
Kleist) / “The Raven” (by Edgar
Allan Poe) / “Der Kleine
Hilvelmann” (by Storm)
Sep. 30, 1929 “Ghosts, Real and Imitation”
Oct. 21, 1929 “Ghost Programme”
Dec. 6, 1931 “Three Ghost Stories”
Dec. 6, 1931 “Ghost Stories and Winter
Tales”
July 6, 1932 “A Humorous Ghost Story”
April 1, 1933
Keienburg…”]
Nov. 20, 1933“In der Kunkelstub’n”
Ghosts—and a Short Ghost Play, Die
Teufelsnacht…’]
Dec. 25, 1933 “The Ghost in the Music Shop”
Feb. 6, 1934 “Ghost Stories”
Feb. 26, 1934 “Horror Knocks at Peter Holl’s
Door”
March 19, 1934“Hair-Raisers”
May 16, 1934 “The Ghost on the Roof”
Circa 1934“Geister, Ganger und Gesichte”
Jan. 3, 1935 “When Ghosts Walk!”
March 18, 1935“Ghost Play”
July 2, 1935 “Horror Knocks at Allen Dale’s
Door”
Sep. 9, 1935 “Ghost Stories”
April 3, 1937 “A Strange Story”
April 26, 1937“Ghosts from the Classics”
(Wanninger)…”]
Oct. 15, 1937 “The Midnight Ghost” (Bartels)
Nov. 19, 1937 “Ghosts!”
Jan. 6, 1938 “A Ghost in the Bar”
Jan. 16, 1938 “Ghosts, Fairies and Fabulous
Monsters”
May 20, 1938“Ghost Stories”
July 4, 1938 “The Lightning-Conductor”
Floods and Superstitions (arr.
Bartels)…”]
Feb. 14, 1939 “Ghost Story”
Charles Tazewell scripted…
WABC, New York, New York City (CBS).
September 12, 1935; March 12, 1936.
actually on the 13th, they are listed as broadcasts of the 12th because they were
technically part of WABC’s Thursday broadcasting schedule.]
Charles Tazewell (scriptwriter).
CAST: William Johnstone, Ethel Remey, Orson Welles, et al.
None.
September 12, 1935 “The Eve of Friday the Thirteenth”
March 12, 1936“The Eve of Friday the Thirteenth”
An original script by Dwight Weist, performed on the NBC Radio Guild…
WJZ, New York City, New York (NBC-BLUE).
August 10, 1940.
Dwight Weist (scriptwriter).
None.
August 10, 1940“Evening Call”
John Collier’s classic horror story…
The original source story for “Evening Primrose” was first published in 1940. It
can be found in the John Collier collectionFancies andGoodnights
& Co., 1951].
Various.
Various.
Alexander Courage (music conductor—1949,Escape), John
Dunkel (scriptwriter—1949,Escape), Norman Macdonnell (director—1949,
Escape), John Pritchett (host, reader—2007,An Hour of Short Stories)
CAST [8/25/49,Escape]: Harry Bartell, Lois Corbett, Georgia Ellis, Wilms
Herbert, Vivi Janis, Ruth Perrott, Ben Wright.
“Evening Primrose (Escape, 8/25/49),
MYSTERY AND IMAGINATION (HOME SERVICE, LONDON)
Jan. 3, 1946 “Evening Primrose”
Escape. November 5, 1947. CBS net. "Evening Primrose". Sustaining. A
fascinating adventure with a strange assortment of characters who live inside
New York's department stores. Great radio! The script was subsequently used on
Escape on September 12, 1948 (see cat. #65849) and on August 25, 1949 (see cat.
#24294). Pat Lowery, Elliott Lewis, Paul Frees, John Collier (author), William N.
Robson (producer, director), John Dunkel (adaptor).
Escape. September 12, 1948. CBS net. "Evening Primrose". Sustaining. A
fascinating adventure with a strange assortment of characters who live inside
New York's department stores. Great radio! The script was used previously on
"Escape" on November 5, 1947 (see cat. #65835) and subsequently on August 25,
1949 (see cat. #24296). Norman Macdonnell (producer, director), Ivan Ditmars
(special music), William Conrad, Constance Cavendish, Jeff Corey, John Collier
(author), John Dunkel (adaptor), Roy Rowan (announcer), Harry Bartell, Lillian
Buyeff, Kay Miller, Irene Tedrow.
July 28, 1949 “Evening Primrose”
who decides to live in a department
store and finds a whole community
already in occupation. His plans to
escape the weird community are
thwarted by the Dark Men, nocturnal
policemen who live in undertaking
parlors…”]
Escape. August 25, 1949. CBS net. "Evening Primrose". Sustaining. A
fascinating adventure with a strange assortment of characters who
live inside New York's department stores! Great radio! The script was
used on the program previously on November 5, 1947 (see cat.
#65835) and on September 12, 1948 (see cat. #65849). Ben Wright,
Bob Lemond (announcer), Georgia Ellis, Harry Bartell, John Collier
(author), John Dunkel (adaptor), Lois Corbett, Norman Macdonnell
(producer, director), Ruth Perrott, Alexander Courage (music
conductor), Vivi Janis, Wilms Herbert.
??? ??, 196? “Evening Primrose”
AN HOUR OF SHORT STORIES (NORTH TEXAS RADIO FOR THE
Dec. 9, 2007 “Evening Primrose” / “The
American’s Tale”
Oct. 10, 2008 “Evening Primrose”
A darkly surreal story by John Collier about a bizarre community of
people who have opted out of society .
Lorre on his Mystery in the Air program on July 31, 1947, but was replaced by “
[Circleville Daily Herald, January 27, 1938] “Both Boris Karloff and Charlie
McCarthy have a new experience next Sunday, January 30, when they meet. Boris
has never tried to scare a ventriloquist’s dummy before and Charlie McCarthy has
never come within ten miles of trying to scare Boris Karloff. In fact it’s still far
from settled just how close to Karloff, Edgar Bergen will be able to get Charlie...
Karloff also plays the leading part in a dramatic sketch with Don Ameche.”
[Wisconsin State Journal, February 10, 1938] “Nobody can say that Harry Saz,
NBC Hollywood sound man, hasn’t his heart in radio these days. The heartbeats
which listeners heard when Boris Karloff and Don Ameche dramatized Edgar
Allen Poe’s ‘The Telltale Heart’ were the McCoy. With a hand mike clamped
against his chest, Saz sat in another studio while NBC engineers faded in his
heartbeats at the proper time. Producers auditioned several hearts, but Saz’s
seemed to give out the loudest throb.”
San Mateo Times, February 4, 1938] “Karloff didn’t scare
McCarthy nearly as much as he did Senator Herring of Iowa. The Iowan has
demanded a script of the broadcast as a perfect example of what children
shouldn’t be allowed to hear over the air.”
broadcasts, Senator Clyde L. Herring, D., Ia., today asked for a script of Boris
Karloff’s recital of Edgar Allen Poe’s ‘Evil Eye’ on a National Broadcasting
Company network last Sunday night.”
“ ‘The fact that the poem [sic] is a classic does not make it satisfactory for
broadcasting on a ‘children’s hour’ program,” Herring said. ‘It is all right for the
book to be on the shelf to be read when anyone desires, but I don’t think it should
be broadcast just before children go to bed.’”
San Antonio Light, March 6, 1938] “Boris Karloff was so
effective in ‘The Tell-Tale Heart’ that he was given a five-week contract to portray
original horror stories by Arch Oboler at the Lights Out broadcasts.”
KFI, Los Angeles, California (NBC-RED).
January 30, 1938.
Dwight Cooke (producer), Shirley Ward (scriptwriter).
CAST: Don Ameche, Boris Karloff.
Yes, in the Library of Congress.
THE CHASE AND SANBORN HOUR (KFI, LOS ANGELES)
Jan. 30, 1938 “The Evil Eye”
ORIGINATION: K???, Los Angeles, California (MBS).
DURATION: May 24, 1945.
PERSONNEL: Arch Oboler (scriptwriter, :director).
EXTANT RECORDINGS: Yes.
May 24, 1945 “An Exercise in Horror”
portrayer of villains, Peter Lorre, in the
lead, ‘An Exercise in Horror’ will base
its theme upon the horror-men of our
time, from Boris Karloff to the late
Adolph Hitler…”]
Based on a one-act play by his brother Harry, “Exit” was rewritten as a short story
for the BBC by J. Jefferson Farjeon.
No trace of this broadcast has been found in theTimes, but on October 20, 1938
was listed “In Reverse,” a short story by J. Jefferson Farjeon.” It ran from 1:00 to
1:20.
“A short story about a group of people at a dinner party, including a newlywed
couple. At the end of the evening they all undertake some ritual that will make
one of them disappear, and never have existed. None of them believe it will occur,
and so they all play along. At the end of the ritual they don't believe anything has
changed, however we learn that from a newlywed couple, the wife has
disappeared and the man is a bachelor - never been married.”
“It’s about a group of people in a hotel in the mountains who play a party game.
The person who suggests the game says he can make one of the group of hotel
guests disappear. They turn the lights off and the game starts. It’s a bit like
hypnosis with the person who suggested the game describing the sensations that
the person who is to disappear will feel (a strange fluttering in the throat etc.). the
lights are turned back on and everyone laughs and says, ‘Well, I didn’t disappear,
etc.’ but it becomes apparent that the young woman who was with her husband at
the beginning of the story is now a single woman. No one has any recollection of
her husband’s existence so he has, in fact, disappeared.”
National Programme, London (BBC).
September 21, 1937; October 20, 1938.
Felix Aylmer (reader—1943,The Wednesday Story), Rupert
Caplan (producer—1937,The Ghost Room), Carleton Hobbs (reader—1937,
National Programme).
Best Broadcasting Stories, where it was presented
under its original title, “Exit.”]
June 24, 1937“Exit”
Sep. 21, 1937 “In Reverse”
Oct. 20, 1938 “In Reverse”
Aug. 11, 1942 “Exit”
THE WEDNESDAY STORY (PROGRAMME FOR THE FORCES)
July 7, 1943 “Exit”
adapted for broadcasting by J.
Jefferson Farjeon; read by Felix
Aylmer. (Previously broadcast on
August 11, 1942…”]
[Wireless Weekly] “Professor Strange discovered that there are secrets no man
might know—and what occurred forms the basis of one of the strangest and most
interesting radio dramas ever presented.”
the past and in doing so frames his assistant for adultery with his wife.”
2BL, Sydney, New South Wales; CBK, Winnipeg, Manitoba
(CBC Eastern Network).
July 19, 1939; November 29, 1939; September 13, 1945.
Max Afford (scriptwriter), Esse W. Ljungh (producer—1945,
Winnipeg Drama), Charles Wheeler (producer—1939, 2BL).
CAST: ? (Professor Julian Strange, a Professor of Advanced Physics), ? (Albert
Parkinson, His Assistant), ? (Berenice Strange, His Wife), ? (Dolly Edwards, Mrs.
Strange’s Maid), ? (Roger Easterwood, Friend of Professor Strange).
None.
July 19, 1939 “An Experiment in
Accoustics”
Nov. 29, 1939“An Experiment in
Acoustics”
Sep. 13, 1945 “An Experiment in
Acoustics”
Afford, Max
E-2-1. An Experiment In Acoustics
Winnipeg Drama, 13 Sept. 1945
Producer: Esse W. Ljungh, Winnipeg, Eastern
Network, 30 min., 22 pp., M006937
Mf c184.
Concordia: microfilm
Drama: A mad scientist invents an acoustical
machine recording sounds from the past and in doing
so frames his assistant for adultery with his wife.
"…presented by the New 2UE Players, under the direction of Lionel Lunn.”
[Wireless Weekly] “A dramatic thriller, with its setting in Sydney. An attractive
girl falls ill and dies and, according to her wishes, she is embalmed by an Indian.
Her grief-stricken fiancé, some time later, when walking down the street, comes
face to face with the girl who had only been buried a few weeks previously.”
After George Edwards jumped ship and went to 2GB, the Sunday night
dramatics continued as the New UE Players were formed, under the direction of
Lionel Lunn. In addition to “Eyes of Death,” they did the occasional delving into
the weird and mysterious with “The Monkey’s Paw” (May 21, 1933), “The
Revenge of the Ruby God” (June 18, 1933), presumably a re-titling of Lord
Dunsany’s “A Night at an Inn,” and “The Marie Celeste (July 2, 1933).
2UE, Sydney, New South Wales.
August 6, 1933.
Lionel Lunn (director).
None.
Aug. 6, 1933 “Eyes of Death”
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