Comedy

A Date with Judy is a comedy radio series aimed at a teenage audience which ran from 1941 to 1950.^[1] The show began as a summer replacement for Bob Hope‘s show,^[2] sponsored by Pepsodent and airing on NBC from June 24 to September 16, 1941, with 14-year-old Ann Gillis in the title role. Mercedes McCambridge played Judy’s girl friend.^[2] Dellie Ellis (later known as Joan Lorring) portrayed Judy Foster when the series returned the next summer (June 23 – September 15, 1942).

Louise Erickson, then 15, took over the role the following summer (June 30 – September 22, 1943) when the series, with Bristol Myers as its new sponsor, replaced The Eddie Cantor Show for the summer. Louise Erickson continued in the role of Judy over the next seven years as the series, sponsored by Tums, aired from January 18, 1944, to January 4, 1949. Ford Motors and Revere Cameras were the sponsors for the final season of the radio series on ABC from October 13, 1949, to May 25, 1950. Richard Crenna costarred on the series.

The series was so popular CBS developed a rival program Meet Corliss Archer featuring Janet Waldo, which also enjoyed a long run and proved to be equally successful.

The Abbott and Costello Show is a comedy program from the era of old-time radio in the United States. It was broadcast first on NBC and later on ABC, beginning July 3, 1940, and ending June 9, 1949.^[1]

Film stars Bud Abbott and Lou Costello adapted their talents to radio for this 30-minute weekly comedy program. Vincent Terrace, in his book, Radio Programs, 1924-1984: A Catalog of More Than 1800 Shows, wrote, “Many of the skits revolved around Bud and Lou’s efforts to succeed in some sort of business venture.”^[2] The skits were often ones that they had used in their vaudeville act.^[3]

Popular culture scholar J. Fred MacDonald, in his book, Don’t Touch That Dial!: Radio Programming in American Life, 1920-1960, wrote that the pair formed “one of the leading radio comedy acts throughout the 1940s.”^[4] He noted that Abbott was the straight man, with Costello “the comedic force of the act.”^[4]

Amos ‘n’ Andy is an American radio and television sitcom set in Harlem, Manhattan‘s historic black community. The original radio show, which ran from 1928 until 1960, was created, written and voiced by two white actors, Freeman Gosden and Charles Correll, who played Amos Jones (Gosden) and Andrew Hogg Brown (Correll), as well as incidental characters.

When the show moved to television, black actors took over the majority of the roles; white characters were infrequent. Amos ‘n’ Andy began as one of the first radio comedy series and originated from station WMAQ in Chicago. After the first broadcast in 1928, the show became a hugely popular radio series. Early episodes were broadcast from the El Mirador Hotel in Palm Springs, California.^[3]:168–71 The show ran as a nightly radio serial (1928–43), as a weekly situation comedy (1943–55) and as a nightly disc-jockey program (1954–60). A television adaptation ran on CBS (1951–53) and continued in syndicated reruns (1954–66). It would not be shown to a nationwide audience again until 2012.^[4]

Blondie is a radio situation comedy adapted from the long-run Blondie comic strip by Chic Young. The radio program had a long run on several networks from 1939 to 1950.

After Penny Singleton was cast in the title role of the feature film Blondie (1938), co-starring with Arthur Lake as Dagwood (the first in a series of 28 produced by Columbia Pictures); she and Lake repeated their roles December 20, 1938, on The Pepsodent Show starring Bob Hope. The appearance with Hope led to their own show, beginning July 3, 1939, on CBS as a summer replacement for The Eddie Cantor Show. However, Cantor did not return in the fall, so the sponsor, R.J. Reynolds‘ Camel Cigarettes chose to keep Blondie on the air Mondays at 7:30pm. Camel remained the sponsor through the early World War II years until June 26, 1944.

In 1944, Blondie was on the NBC Blue Network, sponsored by Colgate-Palmolive‘s Super Suds, airing Fridays at 7pm from July 21 to September 1. The final three weeks of that run overlapped with Blondie’s return to CBS on Sundays at 8pm from August 13, 1944, to September 26, 1948, still sponsored by Super Suds. Beginning in mid-1945, the 30-minute program was heard Mondays at 7:30pm. Super Suds continued as the sponsor when the show moved to NBC on Wednesdays at 8pm from October 6, 1948, to June 29, 1949.

When Penny Singleton left the radio series in the mid-1940s, Patricia Lake, the former Patricia Van Cleeve, replaced her as the voice of Blondie for the remaining five years of the show, opposite her real-life husband Arthur Lake. Ann Rutherford and Alice White were also heard as radio’s Blondie.^[1][2][3] In 1954,^[4][5] Lake also co-starred with her husband in an early television sitcom he created called Meet the Family.^[6][7][8]

In its final season, the series was on ABC as a Sustaining Program from October 6, 1949, to July 6, 1950, first airing Thursdays at 8pm and then (from May) 8:30pm. The radio show ended the same year as the Blondie film series (1938–50).

The Pepsodent Show also known as The Pepsodent Show Starring Bob Hope, The Bob Hope Pepsodent Show, and The Bob Hope Show is an American radio comedy program broadcast during the Golden Age of Radio. The program starred comedian Bob Hope and his sidekick Jerry Colonna along with Blanche Stewart and Elvia Allman as high-society crazies Brenda and Cobina as well as a continuously rotating supporting cast and musicians which included, for a time, Judy Garland, Frances Langford and Desi Arnaz and his orchestra.

The Pepsodent Show, along with Edgar Bergen‘s Chase and Sanborn Hour, Jack Benny‘s The Jack Benny Program, and Fred Allen‘s Texaco Star Theatre, was one of the most listened-to programs during World War II.

The Pepsodent Show was broadcast Tuesday nights at 10:00 over NBC from September 27, 1938–June 8, 1948. For most of its run, Pepsodent followed Fibber McGee and Molly on Tuesdays^[1] and preceded The Raleigh Cigarette Program starring Red Skelton.^[2]

Ed Wynn The Fire Chief is a American radio show. In the early 1930s Wynn hosted the popular radio show The Fire Chief,^[7] heard in North America on Tuesday nights, sponsored by Texaco gasoline. Like many former vaudeville performers who turned to radio in the same decade, the stage-trained Wynn insisted on playing for a live studio audience, doing each program as an actual stage show, using visual bits to augment his written material, and in his case, wearing a colorful costume with a red fireman’s helmet. He usually bounced his gags off announcer/straight man Graham McNamee; Wynn’s customary opening, “Tonight, Graham, the show’s gonna be different,” became one of the most familiar tag-lines of its time; a sample joke: “Graham, my uncle just bought a new second-handed car… he calls it Baby! I don’t know, it won’t go anyplace without a rattle!”

Wynn reprised his Fire Chief radio character in two movies, Follow the Leader (1930) and The Chief (1933). Near the height of his radio fame (1933) he founded his own short-lived radio network the Amalgamated Broadcasting System, which lasted only five weeks, nearly destroying the comedian. According to radio historian Elizabeth McLeod, the failed venture left Wynn deep in debt, divorced and finally, suffering a nervous breakdown.^[8]

Wynn was offered the title role in MGM‘s 1939 screen adaptation of The Wizard of Oz, but turned it down, as did his Ziegfeld contemporary W. C. Fields. The part went to Frank Morgan.

Father Knows Best is an American radio show series that began August 25, 1949, on NBC Radio. Set in the Midwest, it starred Robert Young as the General Insurance agent Jim Anderson. His wife Margaret was first portrayed by June Whitley and later by Jean Vander Pyl. The Anderson children were Betty (Rhoda Williams), Bud (Ted Donaldson), and Kathy (Norma Jean Nilsson). Others in the cast were Eleanor Audley, Herb Vigran, and Sam Edwards. Sponsored through most of its run by General Foods, the series was heard Thursday evenings on NBC until March 25, 1954.

On the radio program, the character of Jim differs from the later television character. The radio Jim is far more sarcastic and shows he really rules over his family. Jim also calls his children names, something common on radio but lost in the TV series. For example, Jim says, “What a bunch of stupid children I have.” Margaret is portrayed as a paragon of solid reason and patience, unless the plot calls for her to act a bit off; for example, in a Halloween episode, Margaret cannot understand how a table floats in the air. But that is a rare exception.

Betty, on radio, is portrayed as a status-seeking, boy-crazy teenage girl. To her, every little thing is “the worst thing that could ever happen.” Bud, on radio, is portrayed as an “all-American” boy who always seems to need “just a bit more” money, though he gets $1.25 (around $14.00 in 2019) per week in allowance. Bud is in charge of always having to answer the phone, which he hates. He is also shown as a somewhat dim boy who takes everything literally; for example, Jim might say, “Go jump in the lake,” to which Bud would reply, “Okay, Dad; which lake should I go jump into?” He also uses the phrase “Holy Cow” to express displeasure. On radio, Kathy often is portrayed as a source of irritation. She whines, cries and complains about her status in the family as being overlooked. She often is the source of money to her brother and sister, although she is in hock several years on her own allowance.

In an interview published in the magazine Films of the Golden Age (Fall 2015), Young revealed about the radio program: “I never quite liked it because it had to have laughs. And I wanted a warm relationship show…. When we moved to TV I suggested an entirely new cast and different perspective.”^[2]

Fibber McGee and Molly was an American radio comedy series. A staple of the NBC Red Network for the show’s entire run and one of the most popular and enduring radio series of its time, the prime time situation comedy ran as a standalone series from 1935 to 1956, then continued as a short-form series as part of the weekend Monitor from 1957 to 1959. The title characters were created and portrayed by Jim and Marian Jordan, a real-life husband and wife team that had been working in radio since the 1920s.

Fibber McGee and Molly, which followed up the Jordans’ previous radio sitcom Smackout, followed the adventures of a working-class couple, the habitual storyteller Fibber McGee and his sometimes terse but always loving wife Molly, living among their numerous neighbors and acquaintances in the community of Wistful Vista. As with most radio comedies of the era, Fibber McGee and Molly featured an announcer, house band and vocal quartet for interludes. At the peak of the show’s success in the 1940s, it was adapted into a string of feature films; a 1959 attempt to adapt the series to television with a different cast and new writers was both a critical and commercial failure, which, coupled with Marian Jordan’s death shortly thereafter, brought the series to an end.

It Pays to Be Ignorant was a radio comedy show which maintained its popularity during a nine-year run on three networks for such sponsors as Philip Morris, Chrysler, and DeSoto.

The series was a spoof on the authoritative, academic discourse evident on such authoritative panel series as Quiz Kids and Information Please, while the beginning of the program parodied the popular quiz show, Doctor I.Q. With announcers Ken Roberts and Dick Stark, the program was broadcast on Mutual from June 25, 1942 to February 28, 1944, on CBS from February 25, 1944 to September 27, 1950 and finally on NBC from July 4, 1951 to September 26, 1951. The series typically aired as a summer replacement.

The Jack Benny Program, starring Jack Benny, is a radio-TV comedy series that ran for more than three decades and is generally regarded as a high-water mark in 20th-century American comedy.

Judy Canova (November 20, 1913 – August 5, 1983) (another source gives her birth date as November 20, 1916),^[1] born Juliette Canova^[2] (some sources indicate Julietta Canova), was an American comedian, actress, singer, and radio personality.^[3] She appeared on Broadway and in films. She hosted her own self-titled network radio program, a popular series broadcast from 1943 to 1955.

When bandleader Rudy Vallée offered the still-teenaged Canova a guest spot on his radio show in 1931, The Fleischmann Hour, the door opened to a career that spanned more than five decades. The popularity of the Canova family led to numerous performances on radio in the 1930s, and they made their Broadway theater debut in the revue Calling All Stars. An offer from Warner Bros. led to several bit parts before she signed with Republic Pictures. She recorded for the RCA Victor label and appeared in more than two dozen Hollywood films, playing leading roles as well as supporting parts, including Scatterbrain (1940), Joan of Ozark (1942), and Lay That Rifle Down (1955).

The Canovas as they appeared on The Chase and Sanborn Hour in 1938 from left: Judy, Zeke, and Annie

In 1943, she began her own radio program, The Judy Canova Show, that ran for twelve years—first on CBS and then on NBC. Playing herself as a love-starved Ozark bumpkin dividing her time between home and Southern California, Canova was accompanied by a cast that included voicemaster Mel Blanc as Pedro (using the accented voice he later gave the cartoon character Speedy Gonzales) and Sylvester (using the voice that later became associated with the Looney Tunes character); Ruth Perrott as Aunt Aggie; Ruby Dandridge as Geranium; Joseph Kearns as Benchley Botsford; and Sharon Douglas as Brenda. Gale Gordon, Sheldon Leonard, Gerald Mohr, and Hans Conried also appeared sporadically.

During World War II, she closed her show with the song “Goodnight, Soldier” (“Wherever you may be… my heart’s lonely… without you”) and used her free time to sell U.S. War Bonds. After the war, she introduced a new closing theme that she once said she remembered her own mother singing to her when she was a small child:

Go to sleep-y, little baby.
Go to sleep-y, little baby.
When you wake
You’ll patty-patty cake
And ride a shiny little pony.

The Magnificent Montague ran from 1950 to 1951 and starred Monty Woolley as Edwin Montague who along with his wife, played by Anne Seymour were always getting mixed up in comedic adventures. The show is a treat for the whole family.

Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, at the time CBS’s West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.^[3]

Lucille Ball was believed to have been the next choice, but she was committed to My Favorite Husband and did not audition. Then CBS chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script—Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal—Arden agreed to give the newly revamped show a try.^[4]

Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on CBS July 19, 1948. According to radio critic John Crosby, her lines were very “feline” in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks.^[5] The interplay between the cast—blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright—also received positive reviews.

Jeff Chandler played Boynton and stayed with the role for five years, even after becoming a movie star. He ultimately resigned because it was too exhausting to juggle a regular radio role with his film commitments.^[6][7] Others in the cast included Anne Whitfield as Conklin’s daughter, Harriet.^[8]

Arden won a radio listeners’ poll by Radio Mirror magazine as the top-ranking comedienne of 1948–49, receiving her award at the end of an Our Miss Brooks broadcast that March. “I’m certainly going to try in the coming months to merit the honor you’ve bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton”, she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year’s best radio comedienne.

For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo, and Toni hair-care products. The radio series continued until 1957, a year after its television life ended.

Richard “Red” Skelton (July 18, 1913 – September 17, 1997) was an American comedy entertainer. He was best known for his national radio and television acts between 1937 and 1971, and as host of the television program The Red Skelton Show. He has stars on the Hollywood Walk of Fame for his work in radio and television, and also appeared in burlesque, vaudeville, films, nightclubs, and casinos, all while he pursued an entirely separate career as an artist.

Skelton began developing his comedic and pantomime skills from the age of 10, when he became part of a traveling medicine show. He then spent time on a showboat, worked the burlesque circuit, and then entered into vaudeville in 1934. The “Doughnut Dunkers” pantomime sketch, which he wrote together with his wife, launched a career for him in vaudeville, radio, and films. His radio career began in 1937 with a guest appearance on The Fleischmann’s Yeast Hour, which led to his becoming the host of Avalon Time in 1938. He became the host of The Raleigh Cigarette Program in 1941, on which many of his comedy characters were created, and he had a regularly scheduled radio program until 1957. Skelton made his film debut in 1938 alongside Ginger Rogers and Douglas Fairbanks Jr. in Alfred Santell‘s Having Wonderful Time, and he went on to appear in numerous musical and comedy films throughout the 1940s and 1950s, with starring roles in 19 films, including Ship Ahoy (1941), I Dood It (1943), Ziegfeld Follies (1946), and The Clown (1953).

The Adventures of Ozzie and Harriet is an American sitcom, which aired on ABC from October 3, 1952 through April 23, 1966, and starred the real-life Nelson family. After a long run on radio, the show was brought to television, where it continued its success, initially running simultaneously on radio and TV. The series starred the entertainment duo of Ozzie Nelson and his wife, singer Harriet Nelson, and their sons, David and Ricky. Don DeFore had a recurring role as the Nelsons’ neighbor “Thorny”.

The Aldrich Family, a popular radio teenage situation comedy (July 2, 1939-April 19, 1953),^[1] was also presented in films, television and comic books. In the radio series’ well-remembered weekly opening exchange, awkward teen Henry’s mother called, “Hen-reeeeeeeeeeeee! Hen-ree Al-drich!”, and he responded with a breaking adolescent voice, “Com-ing, Mother!”

hen Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith’s director, Bob Welsh, is credited with the creation of the “Hen-reeeeeeeeeeeee! Hen-ree Al-drich!” opening, which eventually became one of the most famous signature sounds in radio.

After finding an audience with Kate Smith’s listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in NBC‘s Sunday night lineup, July 2, 1939, and it stayed there until October 1, 1939, when it moved to Tuesday nights at 8 p.m., sponsored by General Foods‘s popular gelatin dessert Jell-O, which also sponsored Jack Benny at the time. The Aldriches ran in that slot from October 10, 1939 until May 28, 1940, moving to Thursdays, from July 4, 1940 until July 20, 1944. After a brief hiatus, the show moved to CBS, running on Fridays from September 1, 1944 until August 30, 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from September 5, 1946 to June 28, 1951 on Thursdays and, then, as a Sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.

Beginning on July 5, 1946, the program ran for 10 weeks on Friday nights as a summer replacement for Kate Smith Sings. The sponsor, General Foods, used the time to “promote its salt product … instead of Grape Nuts”.^[3]

The show was a top-ten ratings hit within two years of its birth (in 1941, the show carried a 33.4 Crossley rating, landing it solidly alongside Jack Benny and Bob Hope). Earning $3000 a week, Goldsmith was the highest paid writer in radio, and his show became a prototype for the teen-oriented situation comedies that followed on radio and television.

Stone kept the lead role until 1942, when he entered the Army for World War II. Norman Tokar succeeded Stone as Henry for two seasons. Best known for his later work directing the television hit Leave It to Beaver — whose approach of telling its stories from the vantage point of a child may have been inspired by the similar implication in many Aldrich episodes — Tokar also helped write many of the Aldrich episodes. On The Aldrich Family, Tokar was followed by Dickie Jones (1943–44) and Raymond Ives (1944-45), before Stone returned to his signature role. Bobby Ellis became the last Henry Aldrich in 1952.

The Baby Snooks Show was an American radio program starring comedian and Ziegfeld Follies alumna Fanny Brice as a mischievous young girl who was 40 years younger than the actress who played her when she first went on the air. The series began on CBS September 17, 1944, airing on Sunday evenings at 6:30pm as Post Toasties Time (for sponsor General Foods). The title soon changed to The Baby Snooks Show, and the series was sometimes called Baby Snooks and Daddy.

The Great Gildersleeve was a radio situation comedy broadcast in the US from August 31, 1941^[1] to 1958.^[3] Initially written by Leonard Lewis Levinson,^[4] it was one of broadcast history’s earliest spin-off programs. The series was built around Throckmorton P. Gildersleeve, a regular character from the radio situation comedy Fibber McGee and Molly. The character was introduced in the October 3, 1939 episode (number 216) of that series. Actor Harold Peary had played a similarly named character, Dr. Gildersleeve, on earlier episodes. The Great Gildersleeve enjoyed its greatest popularity in the 1940s. Peary played the character during its transition from the parent show into the spin-off and later in four feature films released at the height of the show’s popularity.

In Fibber McGee and Molly, Peary’s Gildersleeve had been a pompous windbag and antagonist of Fibber McGee. “You’re a haa-aa-aa-aard man, McGee!” became a Gildersleeve catchphrase. The character went by several aliases on Fibber McGee and Molly; his middle name was revealed to be “Philharmonic” in “Fibber Discovers Gildersleeve’s Locked Diary” episode #258 on October 22, 1940.

“Gildy” grew so popular that Kraft Foods—promoting its Parkay margarine—sponsored a new series featuring Peary’s somewhat mellowed and always befuddled Gildersleeve as the head of his own family.