Radio and television mirror (Jan-June 1949)

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It was Macdonald Carey, in from the Coast for a series of personal appearances. He has become a Hollywood star now, but whenever he comes to New York he makes it a point to see Marge, because he says it was she who helped him when he was just another unknown actor. Dane Clark is another Hollywood movie actor who got his start with Marge's help. And Charles Korvin, whom you've seen recently in "Berlin Express," was once a radio actor. BUT her particular pets are the actors and actresses who have stuck to radio through thick and thin. Eddie Jerome, for instance. A tall, grey-haired, distinguished looking man, he started out in life with a burning desire to be an opera singer. After years of scrimping and struggling, he managed to get to Europe, where he studied singing. Which would have been all right, except that his music teacher worked him so hard he strained his voice and lost it completely. It returned, though, and millions of people have heard him in such programs as Backstage Wife, Wendy Warren and the News, Gang Busters, Cavalcade of America, Columbia Workshop, and When a Girl Marries. And Kenny Delmar, who immortalized the character "Senator Claghorn" on the Fred Allen show. Kenny looks young, but his professional record goes back a long way. Before he was the garrumphing Senator on the Allen program, Kenny had played big and little parts on almost every show in radio. Some actors. Marge will tell you, have special talents which have helped them reach the top. Miriam Wolfe, a regular member of Let's Pretend cast, for instance, attributes her success to her remarkable voice range. She can play anything from five-year-old children to doddering old crones. She started her career at the ripe age of four, and when she was twelve amazed the whole staff of the radio program, The Witch's Tale. It seems that the elderly actress who originally played the cracky-voiced witch on the program died, and it was necessary to find someone else to play the part. Miriam appeared at the auditions— her hair in long curls and wearing a childish sailor hat with long ribbons. The director thought it was all very funny, but when Miriam hunched her shoulders and began to read the witch's lines in the high pitched brittle tones of a wicked old woman and finished it off with a horrible cackling laugh, the director made up his mind immediately that he'd found the right actress. But that's the lighter side of life along Radio Row. There is a dark side, too, and much as it distresses Marge Morrow, she feels that the facts should be known. She tells you that there are some 3500 radio actors listed in the files of the American Federation of Radio Actors, the actors' union. Of those 3500, less than 500 are employed regularly. The rest of them don't even average $20 a week. She agrees that it all sounds pretty discouraging, and says, "I'm just trying to counterbalance some of those spectacular success stories you read every so often." So many people have asked Marge Morrow's advice about how to get into radio that she has worked out her own list of "dos" and "don'ts" for would-be radio actors. If by any remote chance, you have ever harbored any ideas of wanting to be a radio actor, maybe you'd be interested in that list. 1. First, you must he an actor. And that means professional training. 2. It is true that you must be able to read a script intelligently and well. But you also have to live it. .3. Remember, in radio you don't have scenery; you don't have costumes; you don't have gestures; and you don't have facial expressions. All you have is your voice. By your voice alone you must be able to create for the radio audience all those other things. With just that one tool you must make people "see" what you look like, what you're doing, where you are, and how you feel. 4. Don't take the first train to New York, Hollywood, or Chicago. It's true that those cities are the centers of the radio business. They use the most actors. But they already have the most actors — experienced ones! 5. Take a good look at your own home town — or at the largest one near you — for chances at acting experience. Small radio stations may not pay fancy salaries, but where else can you learn the whole set-up of radio, from acting through production? 6. Read everything you can lay your hands on. And pay particular attention to plays, newspapers, feature columns, magazines, books and articles on the entertainment field. See as many movies as you can stand — or afford. And when you sit in a movie, try not to be carried away by the plot or the beauty of the heroine. Study the acting techniques, see if you can figure out why the director wanted it done the way it was, watch the camera shots, listen carefully to the dialogue, keep an eye on any special devices. 7. When your relatives or friends or teachers tell you how wonderful you are and how you ought to be in movies or on the radio, thank them graciously, but try not to believe everything they say! 8. Never forget — in places like New York and Hollywood, it's hard to find a place to live — even a room at a Y. And if you do find a place, it's likely to cost you a small forttine. 9. You must have enough money to last you for at least a year if you insist on hitting the big town. Some people do manage to get part-time jobs and still make the rounds of the casting offices. But it's pretty hard. You can't work all day ■ and make the rounds all night or vice versa without breaking down sooner or later. 10. These are hints. They are not substitutes for hard training and professional experience. But when you do break into radio, they may help you to understand what's going on and what the other people are talking about. . . . And good luck to you!