Radio and television mirror (July-Dec 1948)

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Zonitors kill every germ they touch. You know it's not always possible to contact all the germs in the tract. But you can be sure Zonitors immediately kill every reachable germ and keep them from multiplying. You can buy Zonitors at any drugstore. FREE: Mall this coupon today for free booklet sent in plain wrapper. Reveals frank intimate facts. Zonitors, Dept. ZRM-118. 370 Lexington Avenue, New York 17, N. Y. Nome. Address. City. .State. Grand Central Station (Continued from page 25) cultivated by Horrell. No script "unavailable" for the program ever goes back to a writer accompanied only by a printed form rejection slip. Horrell returns the script with a helpful letter of analysis and encouragement, sometimes suggesting changes, which, when made, enable the writer to sell the play to some other program. To a great many radio listeners the introductory format of the program is one of the most pleasing and haunting arrangements of sound on the air. This did not come about by accident. Ten years ago when Horrell was planning the program he was undecided between a great railroad station and a metropolitan airport as a point of arrival and departure for his characters. It was the greater appeal of the railroad sound effects that led him to choose the name Grand Central Station after listening to all available recordings of airport and aviation sounds. The railroad sound effects, he decided, were more evocative and of greater variety. Horrell spent two weeks arriving at the exact opening that would establish the mood he desired. The spoken words of the narrator had to match the sound effects to create a feeling of excitement and anticipation; the words must follow a definite rhythmic pattern. Poetic license was taken in the use of the sound effects, which Horrell is the first to admit are not technically correct. Actually, electric engines bring all trains into Grand Central, but they do not have the aliveness for radio of a breathing, roaring locomotive. Then, too, most of the towns across the country are more familiar with the steam engines. However, so many listeners wrote in calling attention to the inaccuracy that Horrell composed a form letter explaining why he used steam engine sound effects instead of the efficient and undramatic hum of the electric. A railroad bigwig wrote a letter inquiring why, if Horrell was going to use the Grand Central name, the current designation, Grand Central Terminal, was not employed. There's a reason: practically any spot survey would show that four out of five New Yorkers and visitors to the metropolis always refer to the giant depot as Grand Central Station. The letters that give Horrell the greatest pleasure are the ones contained in an ever-expanding file marked "Con tented Authors." He takes great pains with authors new to radio writing. Horrell begins his week's work on Sunday, hunting for a script. He's always well ahead on this part of his labors, since the program is usually scheduled three to four weeks in advance, but to stay that way he must read 30 or 40 plays a week. The scripts Horrell likes are read in turn by his wife, Dorothy, and director Ira Ashley. The script that is finally selected is processed through Horrell's typewriter for rewriting in order to preserve the style he believes important to the show. Set with a script, the fine machinery of the Horrell production method begins to whirr and hum toward the weekly goal of perfection. The producer discusses sound effects with Ashley, who has been directing the show for six seasons, and together they plot the all-important "scenery" of sound. GCS employs the talents of one of radio's top sound-effect teams, Jim Rogan and Francis Mellow. Nothing makes these boys happier than a script calling for a tricky sound. If they haven't got the effect called for, they will invent it. Next step in "dressing the stage" with sound is the musical background provided by organist Lew White, a gifted musician. Horrell listens to a play-through of musical interludes improvised by White to heighten the mood or underline the plot twist of the drama. As Horrell nods approval of a passage or a chord, White jots it down on a roughly drawn staff on his copy of the script. Unlike most, incidental music in radio drama, Grand Central Station's moods are more often expressed in the terms of opera rather than the symphony, the result no doubt of Dorothy Horrell's experience as a singer in grand opera in Europe and here. On Friday, the day before the broadcast, Horrell has a read-through in the studio with the actors, always a group of top Broadway performers. To bring the best stage talent to the air, the Horrells attend every theatrical production on Broadway during the year. He has consistently refused to set up a stock company of radio actors, preferring the use of different voices each week and actors with a fresh approach to the show. Many theatrical luminaries have made their first radio appearances on the Horrell program. A GREAT DAY in the evening ! Listen to Dennis Day, the brightest star in radio, on "A Day In The Life Of Dennis Day" every Saturday night (10 p.m. EST) over NBC stations. The handsome young Irishman sings, clowns, mimics his way through a half hour of uproarious entertainment. Tune in "A Day In The Life Of Dennis Day" SATURDAY NIGHT NBC Read "My True Romance" by Dennis Day in the breathtaking November issue of TRUE ROMANCE magazine. Have you entered the $67,000 Treasure Chest contest yet?