Radio revue (Dec 1929-Mar 1930)

18 RADIO REV U E Harold Sanford, Conductor public interest to the point where the stage revivals were deemed advisable. The Philco Hour originated two years ago, as the result of a request made by James M. Skinner, vice-president and general manager of the Philadelphia Storage Battery C o m pany. and Sayre M. Ramsdell, sales' promotion manager of the same concern. They suggested that I, as a pioneer in radio work, assemble a "Theatre Memories" program and put iit on the air. I had broadcasted when radio was in its infancy. I knew Harold Sanford well and he was my first choice as musical director. That choice has been more than justified by the widespread popularity of the orchestral part of the hour. At that time, Jessica Dragonette was playing the lead in "The Student Prince," but before long she succumbed to the lure of the microphone. Colin O'More, who had sung in light opera on Broadway with success, came with us as tenor and leading man. The other members of the original company, who are still with us, include Muriel Wilson, soprano ; Mary Hopple, contralto, and Charles Robinson, bass. Later additions to the cast were: Kitty O'Neill, mezzo-soprano; Walter Preston, baritone, and Henry Shope, tenor. Calls for Greatest Accuracy There is a great deal more to the staging of a radio program like ours than the average person realizes. It is no hit-or-miss process, but one that calls for the greatest accuracy. First we select the light opera we are to broadcast. Then Mr. Sanford, with the complete musical score, and I, with the prompt book, go over the entire show together. We choose the oustanding musical numbers and those that will fit in best with our general plan for the program. Next we time the numbers provisionally. Then I go through the prompt book and pick out the bits of dialogue that will tell our story to the best advantage. The next step is to prepare my continuity, supplying those details of the story that are not provided by the dialogue. We usually have three rehearsals for each show. At the first rehearsal with piano, the singers familiarize themselves with the music. During the process I obtain another timing of the musical numbers by means of a stop watch. At the second rehearsal, I again time the musical numbers, dialogue and continuity carefully. By that time I am able to judge quite accurately whether or not we will be able to complete our show in the allotted time. This is most essential, because our program much finish right on the minute in order not to encroach on the one that follows. Entire Show Rehearsed STEIN At the final, or "dress," rehearsal, we put on the entire show with the orchestra. Again I time the program and make any cuts or additions that are necessary. At this rehearsal, careful attention is paid to the microphone setup, in order to get the proper balance of orchestra and singers, and also to produce the desired sound effects. In view of the necessity for everything being timed so accurately, a slight miscalculation on my part can create havoc, as I have learned several times, to my discomfiture. But, all in all, it is highly attractive work and offers a rich reward in the satisfaction derived from staging a good performance. The Philco Hour has been privileged to present the premier radio performances of such popular light operas as "The Vagabond King," "T h e Student Prince," 'Blossom Time," ''My Maryland" and "Maytime." A number of others, equally as interesting, are now being prepared for the air. There in our company prit de that is truly remarkable for a group of artists. Each one works with the sole aim of putting on a good show. If any member of the cast sees a chance to help one of the others, either in the singing or dialogue, he does so. Such suggestions are accepted in the proper exists Philco m es corps Colin O'More, Leading Man MtTRAY