Category: Radio

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“. . . some day we’ll have a woman President”; Carole Lombard Predicts

Well, it may not sound outrageous or far-fetched today, but on 22 January, back in 1939, Carole Lombard, whom past generations may have called feisty without being accused of sexism, floored them with views on the role and future of women in the US. To be sure, Lombard was merely reading the script prepared for her; but there was conviction in her voice when she declared: “You can mark my words, Cary Grant. Some day we’ll have a woman President.” Together with Grant and host Ronald Colman, Lombard was featured on the aforementioned variety program The Circle, whose writers gave the punchline to her male co-star: “She’ll never be father of her country.” Upon which Lombard expounded on the “feminine point of view,” accusing Grant of “deliberately trying to belittle the idea and bemuddle the issue. If there’s anything I hate more than a belittler is a bemuddler, and you’re a bemuddler.”

“I didn’t say a woman couldn’t be President,” Grant protested. “I know how you feel about it,” Lombard countered; by this time, hilarity had given way to some serious pamphleteering. “You’re scared. A woman will only get to be President over your dead body, which might be a very good idea.” “Well, now look, Carole. I can’t answer for the rest of the men. But I’d probably vote for this hypothetical woman,” if only to “see what would happen.”

“Well, I’ll tell you what would happen,” Lombard replied, by now stirred enough to flub her lines:

If [. . .] women ran this world it would be a better world, if you really want to know.  It wouldn’t be such a sorry mess of a world.  It wouldn’t be the kind of a world that bombs kids in the street and taxes their [. . .] parents to pay for the bombs.  It [. . .] wouldn’t be a world where people would starve with surplus of stuff to eat around, and it would be a cleaner place, saner place, and a finer place. Because why? Because women are realists.  They wouldn’t permit war because everybody knows nobody can win a war.  They wouldn’t permit slums and filth and disease and poverty because those things cost everybody money.  Do you know what causes war and poverty? All right, all right, I’ll tell you.  Male stupidity, male sentiment and male greed.  Oh, I now women are greedy, too, but they know how to get what they want, you know.  They don’t let stupid sentimental considerations get in their way.  They wouldn’t start a war to get a new trade or raw materials or a swell head when they know darn well they’ll end up headless and bankrupt.  It all comes down to this: men are children and women are realists.  Take it or leave it, gents, take it or leave it.

Three years later, very nearly to the day, the star of To Be or Not to Be would give her life in the effort to rally support and funds for the war (as I mentioned here). Was Lombard, a regular in a Circle of male stars including Groucho and Chico Marx called upon to reaffirm the nurturing role men assign to the supposedly fairer sex, however vehemently the position was stated? Was she a mouthpiece for isolationists, her speech a product of “[m]ale stupidity, male sentiment and male greed”?

Parody or propaganda, the words Lombard hurled into NBC’s unevenly drawn—and quickly withdrawn—Circle make for one of the most intriguing moments in the history of US American network radio entertainment. As to the accuracy of her White House prediction, at least, we may be close to getting an answer.

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“Fortune . . . Danger!”: Weighing In on The Fat Man

Well, he had more than a slim chance of winning over the public when he first stepped on the the scales on this day, 21 January, in 1946, solving the mystery of “The 19th Pearl” (an anniversary also commemorated today by the unfaltering “Easy Ace”). His name, after all, was The Fat Man (also known as Brad Runyon); and he was allegedly fathered by the same guy who gave us The Thin Man. The connection exhausted itself in the contrast expressed in—and unabashedly exploited by—the title. The Fat Man was part of ABC’s “Monday night surprise package,” four programs the network added to its line-up of offerings. According to New York Times radio critic Jack Gould it was a “courageous venture.” Not quite so “courageous,” perhaps, considering that the producers of The Fat Man were banking on the public’s familiarity with the author of The Maltese Falcon, even though said talent had no involvement in the new series other than lending his name to it, for a considerable fee.

Of that, the press appeared to have been unaware, lest they were complicit in duping the public. Gould, at least, assumed the The Fat Man to be “from the pen of Dashiell Hammett, who except for a changed perspective on human avoirdupois, is still drawing liberally on the pattern set by his eminently successful Thin Man.” Not that he was particularly impressed, arguing that the “script left a good deal to be desired, being pretty wishy-washy in characterization and worse in motivation.” Deemed an “altogether different matter” was the second episode (“The Unfamiliar Face”), a “well-knit thirty minutes” for the fashioning of which Robert Sloane was acknowledged as “adapter and director.”

And yet, Gould argued, it was the performer in the title role who might “determine the program’s long-range fate.” Runyon was played by J. Scott Smart (pictured above, in an image freely adapted from a contemporary Life magazine article photographically recreating one of the Fat Man’s subsequent adventures). Gould called his delivery “casual,” at times assuming a “rather sing-song quality that does not always make for the best of listening.” Like Sydney Greenstreet (as Nero Wolfe), the audibly bulky Smart had a voice well-suited to the role of a criminologist who, the announcer reminds us, “tips the scale at 247 pounds.”

Rather more human than the average hard-boiled investigator, the apple-chewing Runyon is self-conscious about his physical appearances: “The only time you really feel [fat] is when you run into a beautiful woman.” In his first adventure, he does just that. Bidding farewell to his mother at Grand Central Station, he bumps into the proverbial—and as such dubious—damsel in distress to whose charms (enhanced by a slight case of Dietrich) our hero too willingly succumbs. “I don’t think it is wise to kiss strange women in stations, son,” his mother warns him. “Have you still got your watch?” “I’ve got more than my watch, ma. I’ve still got her bag.” And thus, the “Pearl” gets rolling. Not the freshwater kind, mind you, but not such a bad piece of custom jewelry at that.

Less than sparkling was the other thriller series premiering that night: I Deal in Crime, starring William Gargan (whom I last spotted in The Devil’s Party, as well as the Claudette Colbert vehicles The Misleading Lady and Four Frightened People). The prominent lead notwithstanding, Gould showed himself unimpressed:

[. . .] Ted Hediger’s script, most of which is a monologue, creeps along at a snail’s pace and boasts more than the accepted quota of the stock situation for the detective field. The central character of Ross Dolan would make any self-respecting gumshoe cringe, and matters are not helped by a rather lackadaisical performance by Mr. Gargan.

Listening to Gargan’s I Deal debut I am inclined to agree with the critic. As a disillusioned post-warrior returning to his old haunts in Los Angeles, Gargan is emotionally detached to the point of never-mind-the script-as-long-as-there’s-a-paycheck indifference, sounding like a dead cousin of Sam Spade‘s Howard Duff. Being thrown the catchy phrase “So what!” in the opening monologue, listeners are likely to repeat it emphatically, if only to drown out Gargan’s less-than-ideal monotone.

In any case, it is a rare treat to come across such reviews, listen to the program in question, and engage in a debate, equipped with a history of each of these shows. ABC’s The Fat Man remained on the air until 1951 (the year it was readied for the big screen, with Smart in the lead), whereas Gargan’s Crime dealership closed in the late summer of 1948. The other two programs thrown into the mix that night, Paul Whiteman’s rather too confidently titled Forever Tops (a recording of which is available here) and the comedy Jimmy’s Diner, starring Jimmy and Lucille Gleason, fared considerably worse.

To be sure, what killed the Fat one was not a lack of interest in his cases, but the blacklisting of its ostensible creator. Hammett spelled commercial success one day and subversive threat the next, which explains why so few noted writers of the late 1940s and early 1950s would bother to Deal in Crime or self-punishment on the radio.

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” . . . same again? Only a little different?”: Cary Grant and the Radio

Well, this being the anniversary of the birth of the man everyone including Cary Grant wanted to be, I decided to listen to a Lux Radio Theater production of “The Awful Truth,” originally broadcast on the actor’s 51st birthday in 1955. By that time, the program was transcribed (that is, recorded), so that Grant did not have to spend this special evening (previously commemorated here) behind the microphone entertaining a vastly diminished crowd of far-flung radio listeners. Not that the early to mid-1950s had been a particularly busy period in the actor’s career. Aside from its felicitous air date (unacknowledged by the host of the program), the 1955 version constitutes the first reteaming of Grant with his original co-star, Irene Dunne, even though both had shared the Lux soundstage for “Mr. Blandings Builds His Dream House” (10 October 1949), which would serve as the premise for Grant’s own radio sitcom, co-starring wife Betsy Drake (who also wrote some of the scripts for the series).

Prior to their Awful reunion, Grant and Dunne reprised their roles in the mascara hazard Penny Serenade (16 November 1941) for the Screen Guild Theater, appeared together in a Screen Directors Playhouse production of My Favorite Wife (7 December 1950), as well as the Screen Guild’s original radio play “Alone in Paris” (30 April 1939).

Nearly two decades of Grant’s life in picture are echoed on the air, in radio dramatizations ranging from Lux’s 8 March 1937 broadcast of ”Madame Butterfly” (adapted from the 1932 film) and the comparatively obscure (if recent DVD release) Wings in the Dark (1935), reworked for the aforementioned Silver Theater to classics like His Girl Friday (1940) and Suspicion (1941). Radio also invites speculations as to what a difference Grant might had made in Hitchcock’s Shadow of a Doubt and I Confess.

Equally at home in melodrama and comedy, Grant guested on a comedy-variety programs like Pepsodent Show, starring Bob Hope (much to the delight of hundreds of screaming WAVES and nurses in the all-female studio audience), and the drama anthology Suspense (in which he was cast in a number of memorable thrillers, including two plays—“The Black Curtain” and “The Black Path of Fear”— based on stories by Cornell Woolrich). On the big screen, in turn, Grant was given the opportunity to star in an adaptation one of the best comedies written for radio, Norman Corwin’s “My Client Curley” (previously discussed here), even though the sentimental film, titled Once Upon a Time (1944), does not manage to capture the magic and wit of the original.

Listening to the actor’s radio performances through the years, it was interesting to hear the changes in Grant’s voice—a voice as distinctive as the cleft in his chin—divorced as it is on the air from the features that became rather more distinguished with age. Truth is that Grant, never known for passionate emoting, sounded awful staid in the 1955 rematch with Dunne, his next to last performance in radio drama. He had been heard once before in a Lux presentation of Leo McCarey’s raucous romance; but his sparring mate that night—the opener of the program’s fifth season on 11 September 1939—was Claudette Colbert, whose character in Without Reservations would write a role assigned to Grant (for the 10 March 1941 Lux broadcast, the role of Jerry Warriner was tailored to Bob Hope, with second fiddle Ralph Bellamy as the only original cast member in that production).

Back in 1939, there was zap and brio in his voice, which, in the sound-only medium, had to make up for the loss of some wonderful slapstick. Nearly sixteen years later, in a reading of the same if somewhat condensed script, what had once come across as carefree and devil-may-care sounded an awful lot like “who cares.” The by then all but defunct genre of screwball with its unsentimental take on love as war (from courting to court case) demanded more energy than either Dunne or Grant were willing (or able) to bring to their connubial tussles. Indeed, the loudest laughs in the studio audience are generated by the less than convincing barks of Mr. Smith, the couple’s pooch (granted, somewhat of a scene-stealer in the film as well).

After experiencing episodes of puerile madcap in Howard Hawks’s Monkey Business (1952), which did little to rejuvenate his career, Grant was finally slowing down. Unfortunately, he appeared to be rehearsing for An Affair to Remember with material not designed to make us forget that his days of cheeky indiscretion lay in a livelier past. Perhaps it is just as well that adaptor George Wells cut Jerry’s final speech in The Awful Truth. It might have sounded too much like an aging actor’s apology, his plea to an audience expecting lively antics: “So, as long as I’m different, don’t you think things could be the same again? Only a little different?”

In the 1930s and ’40s, Grant’s vocal chords were as elastic as his vaudeville-tested sinews. A few day’s after his 35th birthday (on 22 January 1939, to be exact), the lad from Bristol surprised those tuning in to the Ronald Colman hosted Circle with a spirited rendition of “Mad Dogs and Englishmen.” What’s more, the tune is followed later in the program by Grant’s tuneful delivery of . . . the FCC’s regulations regarding station identification. Something different, all right.

“No cackling,” Grant told Colman a few years later on the Command Performance (22 July 1944); but he could be persuaded, nonetheless, to sing a few notes. With the exception of his performance of Cole Porter in the disingenuous Night and Day (1946), there was nary a false one in Grant’s long and varied career on screen and radio.

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Magnetic Realism: Norman Corwin’s One World Flight

Well, it kept Bing Crosby on the air; but it also made that air feel a lot staler. Magnetic tape. Its introduction back in 1946 was a recorded death sentence to the miracle and the madness of live radio. Dreaded by producers of minutely timed dramas and comedy programs, going live had been the life or radio. Intimate and immediate, each half-hour behind the microphone had the urgency of a once-in-a-lifetime event. Actors and musicians gathered for a special moment and remained in the presence of the listener for the express purpose of being there for them and with them, however far away. They made time for an audience that, in turn, was making time for them. In a world of commerce in which democratic principles were reduced to the ready access to cheap reproductions, the quality of being inimitable and original was fast becoming a rare commodity indeed. The time for the magic of the time-bound art, the theater of the fourth dimension, was fast running out.

And yet, in the right hands, this new technology also meant innovation. It held the promise of unprecedented access to an unscripted and unrehearsed reality, the kind that live broadcasting scarcely approximated but often faked. One such groundbreaking program was Norman Corwin’s fourteen-part documentary One World Flight, which premiered on this day, 14 January, in 1947.

As I discuss it at length in Etherized Victorians, my doctoral study on so-called old-time radio, Corwin had played with the idea of taking listeners around the world in flights of fancy like “Daybreak”; he had created the illusion of on-the-spot reportage in dramatic series like Passport for Adams. Journalistically speaking, One World Flight was the real thing.

As a recipient of the first annual One World Award commemorating Wendell Willkie’s diplomatic tour in 1942, Corwin spent four months circling the globe, gathering one hundred hours of interviews, indigenous sounds, and ethnic music. “Here is real documentary radio,” playwright Jerome Lawrence declared in his introduction to a published transcript of the first program; “[r]adio from a shiny chrome studio at Sunset and Vine or at 485 Madison [was] kindergarten stuff in comparison.”

One World Flight presented a post-war world in turmoil, at once a strange new world of opportunity and a breeding ground for hatred and conflict. Corwin’s editorial scissors did not snip away what his tape had managed to capture, even though the voices of hope were given a prominent spot. The future prime minister of India is heard calmly expressing the belief that “freedom for one world” lies in the acceptance of the fact that people and nations “are not alike,” that “everybody is not the same,” and that otherness does not imply inferiority.

One World Flight provides aural proof in support of this sentiment, “moments out of interviews with people high and low; optimists, pessimists; liberals, fascists, communists; stevedores, prime ministers.” According to Corwin who also narrated, the “profoundest things” were not always said by “presidents and premiers,” but by “ordinary” and “humble people.”

Among the “actually recorded” speakers are an Italian woman despairing over the loss of her family during the bombardment of her village; a Filipino girl dismayed that Truman did not drop the atomic bomb on Russia; a Russian newspaper editor who warns that fascist conflagrations begin with a spark; and an Australian accountant cautioning against the advancement of the “colored races,” a “Frankenstein monster” that would “turn on” and “devour us, like the Japanese.” Replacing his idealized—and idealizing—microphone with a magnetic wire recorder, Corwin picked up ideological dissonance where he had hoped for “testaments of agreement.”

To Lawrence, these recordings, though not always “Magnavox-clear,” were of an “authenticity” that was “startlingly refreshing to a fiction-tired radio listener.” He defied his readers to “sit down at a typewriter and compose such simple, straightforward literary dynamite” as was set off on One World Flight.

“Without the tape recorder one wonders if radio would be the exciting instrument it is today,” remarked one radio critic, citing as exemplary The People Act (1952), a short-lived series of community documentaries that relied entirely on taped interviews and speeches. Such uses of magnetic tape remained the exception, however; the increasing reliance on recorded material resulted instead in the prefabrication of formerly live programming and the institution of summer reruns, a new efficiency in network broadcasting that spelled artistic impoverishment rather than renewal.

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“Could She Kiss and Kill . . . and Not [Be] Remember[ed]”

Well, it had been a few years since the movie-going public lined up for a helping of The Egg and I (1947), the back-to-the-farm comedy that proved to be Claudette Colbert’s last major screen success. Still in print today, the non-fiction bestseller by Betty MacDonald on which the franchise-hatching hit movie is based has just been selected as BBC Radio 4’s Book at Bedtime (for a 1947 radio drama version starring Ms. Colbert and her co-star, Fred MacMurray, click here). Considerably less enthusiasm was generated by Mel Ferrer’s The Secret Fury (1950), a box office egg that, even upon delivery, was anything but farm fresh.

In 1944, Colbert left Paramount, the studio that had shaped and protected her image—spirited, smart and sophisticated, after initial siren turns in DeMille features. Despite being a shrewd businesswoman, the by then middle-aged actress stumbled from one middling project to another, playing roles emblematic of an identity in a state of crisis and a career in uneasy flux: a crime-solving nun, a terrorist-beset Planter’s Wife, a Texas Lady. Even her outstanding performance in Three Came Home (1950), for the ordeal of filming which she lost her chance at starring in All About Eve, had gone largely unnoticed.

The Secret Fury, the hysterical melodrama she starred in next, was filmed at a time when audiences were being swept away by a new wave of crime stories that were tough, gritty and low on frills. Unconvincing and anachronistic, it is an irritatingly contrived variation on one of those neo-gothic mysteries in which newlywed heroines distrust their brain much rather than those who stand to gain from addling it.

As if to compensate for the mediocre material or to suit her acting to the overwrought plot, the refined and often reserved Colbert was, for once, woefully overacting. Two years earlier, she had played a similar role in Douglas Sirk’s Sleep, My Love (1948)—the thrills-promising poster for which I acquired last fall—and audiences had reason to be less than embracing of mature (if immaturely acting) women who put their lives and careers in peril by marrying into the wrong families or listening to the advice of their Hollywood agents.

When The Secret Fury was sold to theaters in Britain, it was promoted with the help of the Exhibitors’ Campaign Book pictured above. The latest artifact to have made it into my collection of Colbert memorabilia, it affords a fascinating glimpse at the industry’s marketing machinery. Aside from offering cinema displays and providing advertising copy to be fed to the press, it encouraged exhibitors to adopt various strategies of getting a potential audience excited about the motion picture. Suggested activities were contests in which audiences were asked to match Colbert’s eyes, to share their wedding pictures, or accurately to recall recent events in their lives (something Colbert’s character struggles to do in the film).

Another “stunt” to create interest in the film was this “Visualised Brain Test Reaction, followed by the instructions:

Make an enlarged copy of this graph to serve as a teaser display in the theatre foyer, along with an explanatory caption and film credits. Lead off with a display caption: “Did these brain waves reveal the truth of her mysterious week-end?”

Meanwhile, my own head is gradually clearing after a recent fever; no longer content to feast on television sitcoms, I am going to take in one of Colbert’s earlier comedy triumphs . . . the wintersporting romantic triangle I Met Him in Paris (1937). As DeMille pointed out in his introduction to the radio adaptation another Colbert comedy, The Gilded Lily (produced by the Lux Radio Theatre on this day, 11 January, in 1937), the actress had been somewhat of a “starmaker.” Those who were allowed to throw their arms around her became leading men in their own right, as had Charles Boyer and Gilded Lily co-star MacMurray. Back then, Colbert had her pick of roles and other halves, and brains enough to go for the right ones.

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Lemon in My Tea

Well, make that Liz Lemon. I don’t watch a lot of television these days; but 30 Rock sure is my cup of Assam. Not since Seinfeld have I followed a situation comedy with such enthusiasm. Never mind that Fey’s nod to Jerry and his gang turned into just another plug for the stingless Bee Movie. It’s great to see SNL alumni like Tracy Morgan and Chris Parnell in something worth my while (that is, something other than SNL). Rachel Dratch’s Hitchcockian cameos in season one were inspired. And, for once, even the guest appearances (Carrie Fisher!) do not smack of desperation.

Apropos Lemon (still with a capital L): the BBC hit a new low last Saturday with the premiere of The One and Only . . ., a new reality show in which amateur impersonators of iconic performers like Frank Sinatra, Dusty Springfield, and Rod Stewart battle it out for a chance at a contract in Vegas. Nothing terribly wrong with the concept (unless viewers under forty were expected to call in their votes); but the so-called talent appears to have been dragged in straight from a deserted street corner or a low-rent shopping mall . . . in Andorra. It would make for a stellar 30 Rock episode.

Let’s see, Madonna, in her by now long-faded Material Girlishness, has a German accent to which American audiences are sure to thrill. And Lionel Ritchie? He’s a white guy in blackface. That’ll have them dancing on the ceiling over at the NAACP! You’d think the current WGA strike would encourage broadcasters in Britain to fill in the blanks smartly instead of shooting them . . .

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Anything They Can Do . . . to Make You Feel Better

Well, leave it to a couple of old troupers to make me feel a little less sorry for myself. This New Year’s cold is making me feel miserable, cranky, and just about as fresh as a Jackie Mason standup routine. As those subjected to my groanings and whinings will only be too glad to corroborate, I am not one to suffer in silence. Mind you, I groan and whine even without an audience, of which I was deprived this afternoon (save for our terrier, Montague, who showed no signs of interest, let alone compassion). I reckon those noises serve chiefly as a reminder to myself that I am still numbering among the living.

On days like this, when the food tastes stale, I resort to a few extra doses of comfort culture. I seem to derive the greatest pleasure watching or listening to the old. Exposure to youth, in those moments of premature decrepitude, seems rather too cruel to endure.

After a reassuring hour or so with The Golden Girls, I needed to give my burning peepers a rest; so, I quickly went through my old-time radio log and came across this episode of the Big Show, originally aired on this day, 7 January, in 1951. Among Ms. Bankhead’s guests were Fred Allen, joking about his retirement and health problems, Edward G. Robinson, who was heard in a digest of Cornell Woolrich’s After Dinner Story and lamenting years of typecasting, as well as the fabulous Marlene Dietrich, with whose Scarlet Empress I caught up last month at the Museum of Modern Art in New York (a few days ago, I reencountered her in Stage Fright). Now, Dietrich was even older than the hostess of the Big Show—and Bankhead and her team of writers did not let her forget it for a minute.

Marlene, in turn, was permitted to mock Tallulah’s age-imposed invisibility (“I hear so little about you since you have hidden yourself away in radio”) while rubbing it in that she had just been interviewed by the Woman’s Home Companion. “Are they changing the name to Old Woman’s Home Companion?” Bankhead retorted. “Now let’s face it, darling,” she went on to tear at Dietrich’s glamorous persona, “false eyelashes, mascara, powder, rouge, lipstick . . .” “Yes, darling,” Dietrich purred, “but the rest of it is all me.”

“Let’s stop pretending and tell the truth,” Dietrich declared.

There’s no use denying it. I am not quite as young as I used to be. Everybody knows that I am a mother, and now I’m a grandmother. The silly idea women have that they must lie about their age is ridiculous. I don’t care if everybody knows how old I am.

Upon which Dietrich admits to 32 and Bankhead to 31. That cleared up, Dietrich (who performs such “miracles in numbers”) is invited to sing “Falling in Love Again” . . . “just the way [she] sang it 35 years ago,” before she was born.

Culminating in a rendition of “Anything You Can Do,” the Bankhead-Dietrich face-off is another exercise in self-effacement, which quickly became the trademark of The Big Show. Just the kind of kick in the old pants I needed . . .

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Caught At Last: Some Personal Notes on The Mousetrap

Well, we ended the year in a jam. None too comfortable in a tight squeeze, I nonetheless joined the throng on Waterloo Bridge for the customary year-end countdown and fireworks. We had just gotten out of The Mousetrap, which snapped shut for the 22957th time last night. Opening in 1952, Agatha Christie’s thriller—which started out as a radio play titled “Three Blind Mice” back in 1947—is still packing them in like red herrings in a jar at the St. Martin’s Theatre (pictured below). So, what’s the attraction?

Like most readers, I discovered Christie’s mysteries in my early teens; as a gay male, I did not feel myself represented by the average juvenile fare and was too puzzled and scared to seek out works that might hold a mirror to my androgynous if pimply visage. The impersonal killings perpetrated and neatly solved in the quaint whodunits of the late “Queen of Crime” were just the kind of rest cure my troubled mind seemed to demand.

There was something reassuring in the curlings of Hercule Poirot’s mustachios, the armchair as an intellectual retreat, the assorted young ne’er-do-goods among Christie’s long lists of suspects, as well as the less-than-physically fit busybody of that little old lady who could. It inspired me to try my brains at composing a whodunit, even though, despite numerous attempts, I only managed a revenge comedy whose German title loosely translates as “And All the Worst for the New Year.”

Nowadays, the Christie puzzlers with their lazy prose and perfunctory characterizations do no longer seem quite so satisfying to me; but, as if in gratitude for seeing me through those terrible years, I still catch up with Christie and her works from time to time, whether on television, in the theater, or on my travels. A few years ago, quite by chance, I found myself in the author’s quarters at the Pera Palas Hotel in Istanbul—on the anniversary of her birth, no less.

Back in December 2005, I took in a stage adaptation of And Then There Were None (briefly discussed here). And Then is one of the few works in the Christie canon that is not merely clever but genuinely unnerving.

While well oiled, The Mousetrap is rather less snappy and gripping, despite its opening in the dark to the strains of “Three Blind Mice” and a woman’s piercing scream. The rather superior Gay Lambert (as the troublesome Mrs. Boyle) aside, the current cast of The Mousetrap, which originally starred Sir Richard Attenborough (pictured here on the poster for the play), is as capable as a group of figures in a game of Clue. Little more is expected of Christie’s characters, which fall flat when they are meant to be round.

There is, of course, that queer young fellow named Christopher Wren, just the kind of chap whose welcome presence in the generally impersonal board game tableaux of Agatha Christie, told me, all those years ago, that there was a place for the likes of me in a world filled with hazards, traps, and processed cheese.

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Playing It by Ear; or, "What Are You Doing New Year’s Eve?"

Well, luckily we are not in Glasgow in the middle of a storm, a misfortune that befell us last New Year’s Eve. The festivities having been called off due to fierce winds, we ended up back in our hotel room shortly before midnight. This year, we are in London and, without having made any definite plans or arrangements, determined to see a show in the West End, go out for a meal, and watch the fireworks along the Thames. To be sure, this is not the time of year to be playing it by ear; but, even without reservations, there is always plenty to see and do in a big town like London. While I don’t like to come to town without a clue about what is on offer at museums and in the theater, I prefer not to have our days all planned out ahead of time. History tells us that getting lost is a great way to discover something new.

Yesterday, heading out from our hotel near Pudding Lane, where the Great Fire of 1666 got started, we took the wrong bus and ended up at King’s Cross. Being there, we decided to have a look at the recently reopened St. Pancras Station. The old Victorian terminus has been turned into a memorial to poet John Betjeman (1906-84), whose words you will find under foot, where they might be drowned out by a stampede of travelers. How wonderful it was to stand there, not having to rush anywhere, taking in the sights and sounds of the old yet new and ever changing scene.

“Imprisoned in a cage of sound / Even the trivial seems profound.” The words my camera captured ring true today. On New Year’s Eve, those cages (the bells with which Betjeman was fascinated) are going to rattle all over the world. And the trivium of a few seconds passing will assume the utmost significance in the eyes and ears of billions.

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Oranges Are Just About the Only Fruit

Well, apart from grapes, perhaps. Having left the Big Apple behind us, we started off our trip to London with a roll in the Haymarket. We were not offered any oranges, the vending of which, traditionally, is associated with prostitution; but despite the absence of Cyprians (or Orange-wenches” as referred to in the play), the scene we came upon at the Haymarket was salacious nonetheless. In said 287-year-old Theatre Royal (whose rebuilt venue I captured here in its present condition), The Country Wife was first performed back in 1675. This season, William Wycherley’s bawdy comedy is back, if somewhat condensed (its prologue cropped) and refurbished, with a few visual puns and stagecrafted metaphors added (such as a rendering of the expression “when pigs fly”). The dialogue should best be left unchanged, at least if the revision is as lame as that overheard at the Haymarket that night (something about a doctor being nothing without patience, a pantomime-worthy piece of paronomasia rather more subtle in the original).

Wycherley’s comedy has attracted some of the great actresses of the British theater, including Judy Dench, Helen Mirren, and Maggie Smith. Cast in the role of Lady Fidget (as Edith Evans before her), Patricia Hodge did not quite manage to make the character memorable; but as an ensemble piece, this production succeeded nonetheless as a naughty diversion nowadays referred to as a guilty pleasure.

Mind you, we had consumed a few stomped grapes too many and struggled at first to keep our eyes firmly on the action. Luckily, though, keeping up with this clever Wife is bound to keep anyone up. Take it from an old fruit.