The Age of Classic Radio was a time of innovation and experimentation, especially in terms of radio drama. A program that took the best of what had come before it and succeeded even further in production, performance, and storytelling actually debuted at the end of Radio's Golden Age. A direct descendant of the Columbia Workshop, CBS Radio Workshop not only continued to push boundaries in terms of utilizing story, music, voice and more in exciting, modern ways, it broke new ground in radio drama. From having author Aldous Huxley narrate the adaptation of his Brave New World for the show's debut, to producing an interview with William Shakespeare, to turning a stirring folk ballad into a mix of rhyme. With a performance by William Conrad in The Legend of Jimmy Blue Eyes, the CBS Radio Workshop set the standard for modern audio drama. The man behind CBS Radio Workshop, which debuted in 1956, was William Froug. Inspired directly by the work on the original Columbia Work shop, Froug put all the pi
The Age of Classic Radio was a time of innovation and experimentation, especially in terms of radio drama. A program that took the best of what had come before it and succeeded even further in production, performance, and storytelling actually debuted at the end of Radio's Golden Age. A direct descendant of the Columbia Workshop, CBS Radio Workshop not only continued to push boundaries in terms of utilizing story, music, voice and more in exciting, modern ways, it broke new ground in radio drama. From having author Aldous Huxley narrate the adaptation of his Brave New World for the show's debut, to producing an interview with William Shakespeare, to turning a stirring folk ballad into a mix of rhyme. With a performance by William Conrad in The Legend of Jimmy Blue Eyes, the CBS Radio Workshop set the standard for modern audio drama. The man behind CBS Radio Workshop, which debuted in 1956, was William Froug. Inspired directly by the work on the original Columbia Work shop, Froug put all the pi
The Age of Classic Radio was a time of innovation and experimentation, especially in terms of radio drama. A program that took the best of what had come before it and succeeded even further in production, performance, and storytelling actually debuted at the end of Radio's Golden Age. A direct descendant of the Columbia Workshop, CBS Radio Workshop not only continued to push boundaries in terms of utilizing story, music, voice and more in exciting, modern ways, it broke new ground in radio drama. From having author Aldous Huxley narrate the adaptation of his Brave New World for the show's debut, to producing an interview with William Shakespeare, to turning a stirring folk ballad into a mix of rhyme. With a performance by William Conrad in The Legend of Jimmy Blue Eyes, the CBS Radio Workshop set the standard for modern audio drama. The man behind CBS Radio Workshop, which debuted in 1956, was William Froug. Inspired directly by the work on the original Columbia Work shop, Froug put all the pi
The Age of Classic Radio was a time of innovation and experimentation, especially in terms of radio drama. A program that took the best of what had come before it and succeeded even further in production, performance, and storytelling actually debuted at the end of Radio's Golden Age. A direct descendant of the Columbia Workshop, CBS Radio Workshop not only continued to push boundaries in terms of utilizing story, music, voice and more in exciting, modern ways, it broke new ground in radio drama. From having author Aldous Huxley narrate the adaptation of his Brave New World for the show's debut, to producing an interview with William Shakespeare, to turning a stirring folk ballad into a mix of rhyme. With a performance by William Conrad in The Legend of Jimmy Blue Eyes, the CBS Radio Workshop set the standard for modern audio drama. The man behind CBS Radio Workshop, which debuted in 1956, was William Froug. Inspired directly by the work on the original Columbia Work shop, Froug put all the pi
Everyone on the program is jokingly addressed as either 'professor' or 'doctor', thereby attempting to give the impression that they have a certain lofty, high brow distinction. However, Gene Hamilton contradicts this image when he states that the Chamber Music Society of Lower Basin Street is out to 'give culture its lumps', which it does, in a very delightfully musical, and humorous, way. In the middle of the show, guest commentators do such things as attempting to play an accordion under water, and an NBC Page introduces a corny new song he has just written, which will never, ever make the charts. But, of course, the main attractions are the wonderful Dixieland band arrangements of Paul Lavalle and Henry Levine, which keep everything jumping.
Tom Collins played the lead role of American-born Frank Chandler, who had learned occult secrets from a yogi in India. Known as Chandu, he possessed several supernatural skills, including astral projection, teleportation and the ability to create illusions. Chandu's goal was to 'go forth with his youth and strength to conquer the evil that threatens mankind'. 'Time and space are only an illusion' to the American called Chandler. Endowed with strange gifts, in the first episode he teleported himself to his sister's Beverly Hills home. Starring Tom Collins as Chandu and Luis van Rooten as the villainous Roxor, plotting world domination. Chandu's sister, Dorothy Regent, was portrayed by Irene Tedrow. Cyril Armbrister directed the scripts by Vera Oldham which took Chandu to far-flung locales, both real and mythical. Romantic interludes for Chandu were introduced with Egyptian Princess Nadji played by Veola Vonn. Also appearing in the cast were Norman Field, Lee Millar, and Joy Terry. Created by Harry A.
To western fans, he will always be best known as Festus Haggen, the grizzled and cantankerous sidekick of Sheriff Matt Dillon on the CBS television series 'Gunsmoke'. Complete with a three-day growth of beard and a dry-throated voice, Ken Curtis co-starred on the series for eleven years and became one of the best-loved comedic actors in television history. But even die-hard fans of Dodge City may not realize that, in the years just after World War II, their favorite western deputy was, in fact, a singing cowboy -- the star of his own movie series at Columbia Pictures and a musical radio favorite to boot. Joining Ken Curtis on this new series of shows, titled 'Chuck-Wagon Jamboree', was a batch of talented studio musicians called The Novelty Aces, who would support Curtis musically in his solo numbers, appear as laughing and joking hillbilly hicks between songs, and also be featured in their own musical numbers. Art West, was both announcer and performer. Two of the singers would change their voic
To western fans, he will always be best known as Festus Haggen, the grizzled and cantankerous sidekick of Sheriff Matt Dillon on the CBS television series 'Gunsmoke'. Complete with a three-day growth of beard and a dry-throated voice, Ken Curtis co-starred on the series for eleven years and became one of the best-loved comedic actors in television history. But even die-hard fans of Dodge City may not realize that, in the years just after World War II, their favorite western deputy was, in fact, a singing cowboy -- the star of his own movie series at Columbia Pictures and a musical radio favorite to boot. Joining Ken Curtis on this new series of shows, titled 'Chuck-Wagon Jamboree', was a batch of talented studio musicians called The Novelty Aces, who would support Curtis musically in his solo numbers, appear as laughing and joking hillbilly hicks between songs, and also be featured in their own musical numbers. Art West, was both announcer and performer. Two of the singers would change their voic
The tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren't suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage - finding an apartment, getting used to each other's quirks, and learning to live together on a daily basis. Lacking many of the characteristics of a traditional soap opera, 'Claudia' didn't offer the anguish and heartbreak that typified such long-running soaps as 'Valiant Lady', 'Backstage Wife', and 'Ma Perkins' - and, being sponsored by Coca-Cola, it even lacked the traditional sponsorship of a soap company. But the very elements it was lacking quickly became its strengths: with very few of the 'tune in tomorrow' hooks that most soaps used to lure listeners back the next day, people returning to 'Claudia' instead came back for the interesting, fully developed characters, the light-hearted banter between them, and the fami
The tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren't suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage - finding an apartment, getting used to each other's quirks, and learning to live together on a daily basis. Lacking many of the characteristics of a traditional soap opera, 'Claudia' didn't offer the anguish and heartbreak that typified such long-running soaps as 'Valiant Lady', 'Backstage Wife', and 'Ma Perkins' - and, being sponsored by Coca-Cola, it even lacked the traditional sponsorship of a soap company. But the very elements it was lacking quickly became its strengths: with very few of the 'tune in tomorrow' hooks that most soaps used to lure listeners back the next day, people returning to 'Claudia' instead came back for the interesting, fully developed characters, the light-hearted banter between them, and the fami
The tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren't suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage - finding an apartment, getting used to each other's quirks, and learning to live together on a daily basis. Lacking many of the characteristics of a traditional soap opera, 'Claudia' didn't offer the anguish and heartbreak that typified such long-running soaps as 'Valiant Lady', 'Backstage Wife', and 'Ma Perkins' - and, being sponsored by Coca-Cola, it even lacked the traditional sponsorship of a soap company. But the very elements it was lacking quickly became its strengths: with very few of the 'tune in tomorrow' hooks that most soaps used to lure listeners back the next day, people returning to 'Claudia' instead came back for the interesting, fully developed characters, the light-hearted banter between them, and the fami
The tale of Claudia and David Naughton, newlyweds, just beginning their married life. Young, enthusiastic, and very much in love, they weren't suffering from any medical maladies or suspicions of infidelity. Instead, they were simply facing the many challenges of any new marriage - finding an apartment, getting used to each other's quirks, and learning to live together on a daily basis. Lacking many of the characteristics of a traditional soap opera, 'Claudia' didn't offer the anguish and heartbreak that typified such long-running soaps as 'Valiant Lady', 'Backstage Wife', and 'Ma Perkins' - and, being sponsored by Coca-Cola, it even lacked the traditional sponsorship of a soap company. But the very elements it was lacking quickly became its strengths: with very few of the 'tune in tomorrow' hooks that most soaps used to lure listeners back the next day, people returning to 'Claudia' instead came back for the interesting, fully developed characters, the light-hearted banter between them, and the fami
