Radio acting

During the 1930s a group of dependable actors and actresses developed who worked primarily in radio. These performers were skilled in vocally portraying many different dialects and age ranges. Frequently, one actor would play two or more roles in a given program. An actor who “doubled” in this manner needed the ability to switch mental gears and make the transition from one voice to the next. A radio actor did not have to resemble a part physically. A versatile actor would generally appear on many programs, and he or she could devise imaginative ways to get quickly from one studio to another when performing in consecutive programs on different stations. Some performers, Orson Welles among them, occasionally hired an ambulance to speed them to the next studio.

Some radio programs were produced in studios in which only technicians and performers were present; others were enacted before a live audience. In the very early days of network radio, audiences witnessing a broadcast were admonished not to make any noise, as it was felt that this would confuse the listeners at home. Comedian Eddie Cantor needed laughter and applause, however, and early in his tenure (September 1931 to November 1934) as host of The Chase and Sanborn Hour for NBC, he did everything he could to make the crowd laugh heartily while on the air. The sound of the audience’s laughter proved infectious, and Cantor’s approach won out. From then on, most comedy and variety shows depended on the live audience’s reaction as an essential ingredient.

Because radio actors were not required to memorize lines, rehearsals were brief and informal. On the day of the broadcast, actors would sit around a table and read the script aloud; after one or two of these “table readings,” a dress rehearsal that included music and sound effects directly preceded the program, which was then performed live on the air. The best and busiest radio actors often performed on the air with no rehearsal at all, reading the script “cold” yet still conveying a well-defined characterization.

Time zone differences required many shows to be broadcast live twice: once for the East Coast and again for the West three hours later. Radio lore is filled with stories of actors who spent their three-hour break having a few drinks at Brittingham’s, a restaurant next to CBS studios in Hollywood, or at Colby’s, the New York equivalent—and then performing the West Coast show in a rather uninhibited fashion.

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Sound effects

As dramatic radio developed, so did a need for convincing sound effects. Some effects established the background of a scene; a story taking place in the woods at night might have crickets chirping, an owl hooting, and a coyote howling, for example. Some effects were achieved with a library of special recordings. For some scenes a radio sound-effects crew could employ a battery of turntables playing many recorded effects simultaneously. Other effects were done vocally; certain performers specialized in reproducing baby cries, animal sounds, or blood-curdling screams.

Many of the dynamic sound effects were achieved with props, often built by the sound-effects specialists themselves. Thunder was simulated by shaking a large sheet of metal; galloping horses were reenacted by pounding coconut half shells in a sandbox; and the crunch of footsteps in the snow was created with bags full of cornstarch. Specially designed boxes were created to reproduce the sounds of telephones and doors. Sound engineers kept a large supply of shoes and various floor surfaces on hand to reproduce the sounds of footsteps.

Radio music

As radio’s narrative form developed, so did unique musical passages designed to help further a story. Musical bridges were used as a transition between scenes and might indicate a change in mood from comedic to dramatic. “Stings” were musical cues that came in sharply and dramatically, often played just after an actor had delivered a line indicating a new turn in the story line. Many radio shows also had distinctive theme songs; some of them became indelibly associated with particular performers.

The musicians used on a given program could range from a single organist to a full orchestra. CBS had a particularly fine group of composers and conductors. Among the CBS staff were conductors Mark Warnow, Raymond Scott (renowned for the quirky pseudo-jazz pieces he performed with his Quintette), and Lud Gluskin. Composers included Lyn Murray and Bernard Herrmann; the latter went from composing scores for radio shows such as Columbia Workshop and The Mercury Theatre on the Air to creating renowned scores for films directed by Orson Welles, Alfred Hitchcock, and many others.

Origins in vaudeville

Much of the programming in the early period of American radio sounded like the popular vaudeville theatre circuit from whence came many of radio’s early personalities. Announcers were often selected not merely for their voice quality but for their ability to play the piano or some other instrument in order to fill unexpected gaps in programs. Because few stations could afford to pay performers, early programs centred on what was available, such as a professor holding forth on a current issue, a visiting singing star, or a local band. Music was predominant, occupying two-thirds to three-quarters of most stations’ slowly expanding airtime. Virtually all other time was given over to some kind of talk or information content. Rare were stations such as Westinghouse’s KYW in Chicago, which specialized in a specific format—in this case, live broadcasts of opera.

The typical broadcast day, therefore, consisted of irregular times devoted to talk, music, or comedy in a largely unplanned fashion, each lasting for however long seemed “right.” Early commercial radio broadcasting was more akin to a small-scale “mom-and-pop” operation than to a smooth-running corporate enterprise. Throughout commercial radio’s first decade (the 1920s), the broadcast day was often filled with anyone who was available. The pioneer broadcasters were the first people called upon to provide entertainment and information for a substantial amount of the day and evening; as a result, just about anything audible that was remotely interesting would be trotted before the microphones in the 1920s. Gale Gordon, later a popular supporting actor on many radio shows of the 1940s, recalled making his debut over the air on KFWB in 1926:

There was a studio at the base of a tower on Sunset Boulevard; it was Warner Bros. Studios. It had a little room at the bottom where they broadcast radio, which was quite a novelty in those days. And somebody told me, “If you have anything to say or do, go in and they’ll be happy to put you on the air.”…So I went down, and they said, “What do you do?” I’d learned three or four chords on the ukulele, and I’d written some new words to “It Ain’t Gonna Rain No Mo’,” which was a silly popular song of that time, and so they said, “The mike is yours.” So I went on and sang “It Ain’t Gonna Rain No Mo’” with these four lousy chords—I cannot play anything—and they said thank you, and I left. Nobody ever heard it, I’m sure, because they only had 50 listeners in the best of times. (Gale Gordon, personal communication)

Although Gordon’s experience seems to have come straight out of small-town America, in fact it took place in Hollywood.

The development of planned schedules featuring popular programs of specific lengths, defined formats, and clear beginnings and endings developed slowly in the United States and elsewhere through the 1920s. Until about 1930, however, radio offered little or no drama or situation comedy, few sports broadcasts of any kind, and no regular newscasts or weather reports.