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BEST BROADCASTS OF 1938-39
but in order that the contemporary listening audience may identify themselves to some degree with those audiences of the past to whom these Great Plays first came in all their newly bom power and beauty.
Mr. Harry MacFayden, who made the adaptation, is a veteran producer of the legitimate stage who has been in radio for many years. His wide practical familiarity with dramatic literature and the staging of plays that have survived the test of time made him pecuHarly fitted to direct the production of “The Trojan Women.”
The use of a choms in the radio version of “The Trojan Women” raised peculiar problems. It was retained, and the result of the production seemed to justify its retention because, whereas the action and theme of the play is carried forward rapidly and unerringly by the characters partaking in it, there come times when the emotional tension would be too great were there not given to the audience a pause in which the generalizations of the chorus in its impersonal meditation on the power of the unfolding tragedy broke the rhythm and tempered the strength of the play to the capacity of the Hstener to bear it.
Edith Hamilton did the translation from which the radio adaptation was derived. She is known on three continents as one of the great educators and scholars of our day. She was the first woman ever admitted to the University of Munich. Fortune magazine, in an article on schools of today, referred to Miss Hamilton as an educational “comet.” She is the author of “The Greek Way,” “The Roman Way,” and “The Prophets of Israel.” Her translation of the Prometheus of Aeschylus was produced in New York in 1930. Her translation of the play we are now to read — “The Trojan Women” — was given by the American Actors’ Association in New York in 1938 and by the Federal Theatre at the Golden Gate International Exposition in San Francisco in 1939.
The broadcast took place on October 16, 1938, and was carried by fifty -four stations of the Blue Network.
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