Radio mirror (May-Oct 1934)

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Dept. 24, LOWELL. MASS. 72 An Ether Buggy Ride with "Mama" and "Papa" {Continued from page 29) "Here we are. Now, where's Charlie Ruggles? Suppose he's late. He never is on the set. Where can he be? It's Charlie's first broadcast too. Wonder if he's as nervous as I am? There he comes now. He doesn't look nervous. "Hello, Charlie. It's a nice day, isn't it?" " 'M-m-m-mary ! I'm so glad to see you', kissing me, violently. Why, he's never so much as put his arms around me before and I don't see him from one picture to the next. He MUST be nervous. "It's time to go on. I mustn't let the paper rattle. I MUSTN'T let the paper rattle. This is awful. So many things can happen. And all those people staring. We're being announced. There we go. "Well it's over. I didn't forget anything, anyway. 'It was nice, wasn't it, Charlie?' I quavered. 'Nice,' replied Charlie, 'Mary, you're a darling! You were grand!' And with that he kissed me again — still shaking from head to foot from the ordeal. "I'm still puzzled over that particular type of nervousness. I do hope he's recovered by now." And that was Mary, the Microphone Girl. Imagine it! Mary Boland who'd had them rolling in the aisles for months in New York with her hilarious conversations and frolicking in "Cradle Snatchers"; the same Miss Boland who was just as funny and even more clever in "The Vinegar Tree" ; the actress who is known to all her friends as the life of the party. She's never at a loss for a quip or a smart answer whether she's asking her boss for more money or giving her friends some good advice about husbands. There's something inconsistent and capricious about a mechanical contrivance in a quiet, big studio that gives a famous star the jitters and leaves an unknown aspirant poised and composed. What about Charlie Ruggles? His career goes back as far as Mary's and boasts of many, many comedy seasons equally successful. Not only can he say humorous lines like nobody else in his business but he can write them, too. When he first went out to join the movie ranks he made the transcontinental trip by motor, driving his own car. His diary of that trip was a riot. He made fun of all sorts of situations, and yet a bus ride to a radio studio and a short interlude in the company of "Mike" gave him an attack of nerves that practically sent him down to Palm Springs for a weekend's recuperation. Here's Charlie's own commentary on what happened to him when he was introduced to a listening world as a new radio star. In Charlie's own words he preserved for Radio Mirror readers, this is what happened in the Ruggles mind that^ night. "Well, there shouldn't be anything difficult about a broadcast. After all, I've made plenty of motion pictures with a mike hanging right over my head all the time. The one at the broadcasting station IS different, though. It looks like a big, black eye. It's just a little bit belligerent, if you ask me. "Anyway, I'm glad Mary Boland is on the program with me. We've worked so much together, it should be a cinch. The skit is pretty good, too. "The only thing that confuses me is the sound effects. When 1 drop a spoon to get some sort of an effect, somehow or other I like to hear the thing drop. But no, the broadcast man says that's out. It wouldn't sound like a spoon over the air. The man in the orchestra has to drop it for me. It's very difficult. I have to keep an eye on the man to find out when 1 really drop the spoon! 1 see him go through the motions, but there's not a sound. It's really weird. "Then there's another thing. When I do a scene for a picture where I take my clothes off and go to bed, I go through the action, taking off shirt, suit and shoes — put on pajamas and climb into bed. "It seems so darned silly to stand in front of that mike in the broadcast station and talk about taking off my clothes, dropping my shoes (which don't make a sound because I didn't take them off anyway), wind a clock that isn't even there and after I'm all through talking, I'm standing in the same spot, fully clothed and without a sign of a bed to jump into! "It's a most futile feeling, wondering if all the sound effects come in at the right places and just hoping the audience laughed. "Well I suppose one gets used to anything after a while; It wasn't as bad as I expected, when I stop to think about it. At any rate the man at the broadcasting station said it was swell, which was a relief Anything might have happened, really — especially with those peculiar arrangements about the sound effects. "When I go on the next program I must work out something realistic with the manager of the station. When I drop a spoon, I really want to drop it — if it's only made out of paper mache. I can't do all the acting with my tongue." NOTHING EVER HAPPENS TO RAMONA! At least that's what the talented artist who's been heard on the Paul Whiteman programs has to say about herself. But RADIO MIRROR tells you differently in an intimate, informal study of RAMONA in next month's issue.