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C0H5T-TO-C0AST HIBHUGHTS
CINCINNATI: Those sighs and re By R U S pressed cries you hear in the background of the program over the Mutual Network from 10 to 10:45 P. M. EST, every Monday, are real. Those sighs and cries come from some hundred privileged spectators who are watching the Famous Jury Trials program go on the air at WLW.
When the audience is seated for this drama — written by Don Becker from data based on actual outstanding cases in the country's history and assembled by the prominent New York trial attorney, Martin H. Young — it faces a complete courtroom setting. The judge, Richard Kay Keith, sits on his high bench. At his left is the witness chair. Immediately in front sits the clerk, who is E. J. Rogers, casting director of WLW. The production man, Harold Carr, gives his last minute instructions to the cast. Final adjustments are made on guns, chains, and other sound effects by the chief technician, Don Winget, Jr.
The actors in their places, Announcer Peter Frant introduces the show and the ringing voice of the bailiff calls the court to order. From here on the tenseness is comparable only to a courtroom murder trial. As the prosecution addresses the jury, the witness — if the script is dramatic enough — breaks down . . . the defense attorney shouts back . . . the bailiff jumps to his feet . . ; a scream ... a woman has fainted. It is all so real that the audience, no longer in a studio but a real courtroom, comes to its feet.
Below, left to right, William Green, Richard Keith, and Sidney Slon, who help make those Famous Jury Trials over WLW every Monday night such realistic radio broadcasts.
S KING Judge Keith pounds for order and the actor-bailiff, whispering away from the mike, calms some spectator, reminding him that a program is on the air. As the state rests and the defense addresses the jury in presenting its case, those "ohs" and "ahs" you hear are the natural reactions of an audience vitally concerned with the trial it is witnessing.
When Announcer Grant signs off at 10:45 P. M., the audience, hesitant for a moment, rises and visibly reflects the letdown after the forty-five minutes of tenseness. The attorney who a few minutes before was shaking his fist in the face of a witness, incurring the wrath of the court and the spectators, is talking and laughing with that witness. That realism of a few minutes before, now — and only now — reveals itself for what it was: just another script, but a script expertly written and acted. As the audience trails out it is evident that many have not yet fully assured themselves the courtroom scene just witnessed was not the real thing.
YESTERDAY'S STARS???
This department is accustomed to letters but hardly such a flood as the December Radio (Continued on page 73)
Below, a fascinating character study of Jimmie Stevenson in action at a WJR microphone during one of his programs as a star news broadcaster.
Forster Studio