Radio showmanship (Jan-Dec 1949)

Record Details:

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Greenwood was sure if he got people to tune in to the "Platter Playhouse" once they would become regular listeners. That is just what happened. Since no mail pull is called for the only measure of success that can be applied to the show is in the sponsors' feeling toward how it has boosted merchandise or service sales. The fact that in that first two months so many hours of time were sold is a positive indication of the sponsors' satisfaction. Program is preceded and followed by straight musical feature shows five days a week. And five days a week, "Platter Playhouse" is top-notch daily entertainment skillfully handled. OLD SONGS (Continued from Page 17) a local station had been carrying the program for several months Stanbaugh Auditorium was rented, tickets were distributed throughout the trade and the entire cast was transported from Pittsburgh. An audience of 2,500 filled the auditorium and spent the next hour recalling the music of another day — the kind of music which has given "Memory Time" such a high popularity rating with all who come within its listening scope. When it comes to the format of the show, "Memory Time" is still essentially the same in character as when it began, although some added variety has been assumed in the past few years. The original orchestra has grown to eighteen pieces under the direction of Maestro Al Marisco. Yet the original Ragtime Seven has been retained as a unit and they are frequently featured. Still intact also is the barbershop quartet. And that Iron City Four is still an acknowledged leader among the harmony lovers in the district. Buzz Aston, rated Pittsburgh's top popular baritone, carries much of the show with his songs and deft patter with Bill Sutherland, commercial announcer and coemcee on the other end of the conversational line. Florence Berg, lyric soprano, handles thr ballads of the Jenny Lind type, while petite Elaine Beverly adds a spirited spark with her unusual interpretations of novelty numbers. The styles of these soloists are their own, but they are diverse enough to answer, and answer well, the varied demands of listeners' fancies. One interesting situation to be noted is that listener response to the broadcasts increased sizeably when the musical ar rangements departed from the strictly oldstyle routine. Listeners evidently like the old songs, but their ears have been turned to modern harmonies and effects, so that too great a dose of the simple 1920 musical rhythms is hard to swallow. Listeners seem much happier with a combination of the two. Chauncey Lively, "Memory Time's" exclusive arranger, blends the old and the new in fine balance. The songs themselves are never high hat. "Stardust" and "Song of India" are as heavy songs as are heard on the show. Tunes like "Skip to My Lou" or "Clementine" are likely to be featured favorites on any one of the Thursday shows. Internal organization of the show often covers a week's work for the advertising agency. One program's songs are selected at a two-hour meeting each Monday afternoon. All of the principals in the show are in attendance. The arranger keeps his musical score prepared three weeks in advance. Preparation of the weekly script itself requires two days, including research time. All vocalists, plus director and arranger, get together each Tuesday night for separate rehearsal. Orchestra numbers are rehearsed from 3 to 4 P.M. Thursday afternoon and at 5 P.M. vocals and instrumental backgrounds are combined. Dress rehearsal comes at 6:30 P.M. for timing, then brushing up and final revisions, and at 7:30 the show goes on the air. A lot of work and time and effort go into producing "Memory Time." But it's all worth it when value to the sponsor, in terms of a rising sales record, is estimated. And "Memory Time" has piled up just such a record for its sponsors, The Pittsburgh Brewing Company. 38 RADIO SHOWMANSHIP