Evening star., 1933-08-13
~OMEDY with universal ap-
peal is difficult of attain

peal Is ullllCUlL VI dtCdlll-
Y ment under the most ia
~ vorable circumstances, but
radio places even further limita-
tionS on it's comic entertainers be-
cause Of its dependence on sound
and the variety of its listeners.
While radio comedians are grad
ually expanding the range of their
comedy by introducing novel
sound effects, creating ludicrous
situations and even appearing in
clown costumes for the sake of at
mosphere and the invisible au-
dience, the old-fashioned wise
crack, the jibe at the master OF
ceremonies or the musicians and
the humorous monologue or dla-
logue are still their chief stock In
trade.
One of the greatest sources OF
comic effects is obviously denied
the radio comedian, i. e., panto-
mine. Charles Chaplin, the un-
challenged champion of stage and
screen comedians before the talk
les, would, for example, doubtless
be flop on the air. The most en-
tertaining Of the popular Marx
BrotherS-Harpo-WaS naturally
left out when GrOucho and Chico
signed a radio contract.
Radio has been boon, however,
to comedians of the Eddie Cantor
and Ed Wynn type, because they
have always relied principally on
monologue or dialogue with foil.
Moreover, their brand of humor,
for the most part, has been the
kind that the most circunSpect OF
persons could listen to without
blushing.
Col. Stoopnagle and Budd have
achieved a tremendous following
on the air because of their origi-
nality. Their use of sound effects,
both vocal and mechanical, have
been especially noteworthy.
Radio humor can never be either
subtle or riSque. Burlesque,
adapted to the average American
home, is most successful. The
comedian on the air must always
bear in mind that his audience
probably includes clergyman, a
chorus girl, a school boy, a spin
ster and perhaps blase man
about town.
Even when comedians have in
clined toward the double meaning
and the risque, broadcasterS have
been prompt to put a clamp on
them, realizing tn at offenses
against the moral ScrupleS of
many listeners would give a
weapon to the enemies OF the
American plan of broadcasting.
Satire, unless it is of a mild and
general sort, is likewise taboo for
much the same reason. Come
dians may chide Congress, George
Bernard Shaw or some such in
stitution and get away with it, but
they shy clear of prohibition be-
cause opinion is still sharply di-
vided on the issue. Latterly, how
ever, there has been quite an out
cropping of jokes about 80 beer.
Radio can never take the point
of view of a theatrical producer
why may adapt his show to the
tastes of the community. Its
audience is too varied. Small
town stations may sponsor come
dianS with rural flavor, if the en-
vironment is suitable, but the big
city station and the network can
never count on an exclusive audi
ence of sophisticates for a purely
metropolitan brand of comedy
consumption.
7 IVES at stake means hours at
II work" for Bill Cooper, veteran
radio script writer, who heads the
continuity department of the
Chicago National Broadcasting
Co. studios.
The real stuff that marches
Sturdily down the hallowed halls
of time goes into Lives at Stake,
dramas of heroiSm which are en-
acted every Tuesday night.
No tin-horn heroes, or one time
spotlight figures are used in
dramatizing these thrilling cpl
sodes. The central figure in each
<>>>>>>>>>>~>><>~~~~~~~~>
: Authorized Service :