Radio Soap Opera Discussion

[Reverend Ruthledge]

If those came from that mass-produced CD that was put out a while back, I'm afraid those episodes are wildly out of order and are very confusing to listen to. I had to painstakingly put them in order to make sense of things. I need to make my own CD to give to people just to try and fix the problem. Thankfully, I had time during the lockdown to do that. Just a word of warning. 

[Contessa Donatella]

Well, I'm not going to shoot you, so no worries there. If it's subpar i hate hearing that. It was an old DVD not even mine a former partner. I thought why not make use of it. Serves me right for thinking. But to be clear, white label, www.radiomemory.com 

[jam6242]

For those interested in "Sounds of the City," the radio soap opera from the mid-70s, that centered around an African-American family, there are some episodes on Vintage Broadcast.  There is a cost (though only .69 each) to listen to the episodes.  But can listen to the opening on each for free.

https://vintagebroadcast.com/search/index/Sounds+of+the+city/1

 

@slick jones

Edited June 24 by jam6242

[Paul Raven]

CBS Radio Sept 1951

10:00 A. M. —"Big Sister" —Reed hears with little regret that his successor, Dr. Marlowe, experiences a difficult first day at the Health Center.

 10:15 A. M. —" Ma Perkins" —Disheartened by his hopeless love for Fay, invalided Tom Wells considers the possibility of leaving the Perkins home.

 10:30 A M. —"Young Dr. Malone" —Sam quietly convinces Anne she should restrain her first impulse to refuse Jerry's generous check.

10:45 A M. —"Guiding Light" —Trudy's return occasions a tender family gathering which touches Bill and awakens a new appreciation of home life.

11:00 A. M. —"Second Mrs. Burton" —Rupert Gorham, tormented by the dangerous proximity of Gus Belmont, schemes for his removal.

11:15 A M — Perry Mason" —Perry's trump card in the hide-and-seek game with May and Dorrie Grant loses its full value in a precarious gamble.

11:30 A M. —"This Is Nora Drake" —Tension bet ween Vivian and Seargent increases when their daughter Grace demands answers to troubling questions.

11:45 A. M. —"Brighter Day" —Vicki's concerned mother and stepfather debate the effect of her growing affection for Tony Race, whom they distrust.

1:00 P. M. —" Hilltop House" —Tony's loving and possessive grand mother injects a new and serious handicap for the talented boy's musical career.

1:15 P. M. —" Kings Row" —Fulmer and Rena threaten Rex with exposure if he does not co mply with their request, which involves the life of Elise Parrish. 

[Reverend Ruthledge]

Thank you, Paul.

[Tisy-Lish]

The days of radio soaps must have been interesting.  Having so many different stories to choose from, and then being able to listen while doing other things.  No need to sit and "watch."  

[Paul Raven]

Here's a complete script from Whispering Streets, 13/5/1958,  the anthology series that aired on ABC and then CBS right up till 1960.

Bette Davis had a stint as the narrator. Bette's star had fallen by that stage, as narrating a daily daytime radio show was hardly a prestige assignment. 

(FILTER AND ECHO) BETTE: (SOFT) Whispering

- ANNCR: (SOFT) Whispering -

BETTE: (HEAVIER) Whispering -

ANNCR: (FULL VOICE) Whispering Streets -

(FILTER AND ECHO OUT) MUSIC: THEME...IN AND UNDER...(HATCH SUMMER HOUR TR. 1) ANNCR: WHISPERING STREETS - a complete new story each day, Monday through Friday.

MUSIC: MUSICAL FIGURE...IN AND UNDER..

ANNCR: And here is Bette Davis -

BETTE: Hello. It was Friday the thirteenth - Veronica Halstead tore a leaf from the calendar and thought - It's a bad luck day. I won't stir out of doors - I'll skip my usual stroll in the park". . . She walked over to the mirror and stood staring at her wrinkled face - a face that still held the elements of beauty - despite the marks of almost four score years! She sighed and turned away from the mirror, and there beside it hung a picture of herself as Juliet, young, slim, innocent. Staring at it, Veronica's old eyes filled with quick tears. She dabbed at them, swiftly, when a knock sounded on the door -

SOUND: KNOCK ON DOOR VERONICA: (CALLING) Come -

SOUND: (DOOR OPENS) MRS. J: Good morning, Miss Veronica -

VERONICA: Oh, Mrs. Jenkins -- good morning.

MRS. J: It looks like rain, doesn't it? Here's your breakfast, Miss Veronica.

VERONICA: You shouldn't bring me a tray every morning. I can just as well eat breakfast in the dining room with the others.

MRS. J: You're the star boarder, Miss Veronica. I'm not forgetting the time when I was a wardrobe woman in the theatre, and you were so kind to me. . . I'm not forgetting how kind Mr. Fillimore was to William - (REMINISCENT) William and I weren't married then - William was Mr. Fillimore's dresser -

VERONICA: It was Romeo and Juliet on the stage, and the air was sweet with romance, back-stage, too - (PAUSE) You married your man but I let mine slip through my fingers, Mrs. Jenkins. I thought a career was more important than marriage. You were right, I was wrong.

MRS. J: Who's to say what's right and what's wrong, Miss Veronica? You had your career and it was a great one -

VERONICA: While it lasted! (RUEFUL) You and Williams saved money, you bought a house and furnished it. Your boarders assure you an income. . .Eric Fillimore and I parted company and I'm living on the last of my money - having thrown most of it away, and Eric is heaven knows where -

MRS. J: But he was a beautiful Romeo, Miss Veronica - those legs of his in tights! (DREAMY) I used to stare at them until William Jenkins took me by the arm and whirled me around and - (STOPS) You drink your coffee, Miss Veronica, and if you'd rather not come down for lunch I'll bring you another tray -

MUSIC: PUNCTUATION. .

. BETTE: "She's glad to have me," thought Veronica Halstead, as she sipped her coffee, and ate thin slivers of toast. "I lend prestige to her boarding house!" But just before noon when she stepped into the hall on her way to the dining room, Veronica heard a voice coming from the parlor. Mrs. Jenkins was talking over the telephone - and Veronica paused without meaning to eavesdrop - I've done the same thing myself! As she listened one parchment hand flew up to her heart as if to guard it from the words that were like sharp little needles -

MRS. J: (INTO PHONE - OFF MIKE) No, I haven't any vacant room - I'm sorry. Yes, I'll admit that the price you're offering is a very good one - frankly, it would be the difference between profit and loss, prices are so high these days but - what's the use of talking! (PAUSE) No, I'm not expecting any vacancies, either - (LONGER PAUSE) Well, there's one old person - she's a retired actress. She's had her room for twenty years and she's paying the same board she paid when she moved in - the poor old thing - she doesn't realize that prices have gone up by leaps and bounds - (PAUSE) No, don't be hopeful - my old lady's in the best of health - (QUICK) thank heaven!

MUSIC: STING

BETTE: Veronica tiptoed back to her room. She seated herself in the brocaded slipper chair that had seen service in a boudoir set, behind footlights, twenty-five years ago. She sat there for a long while, staring into space. . . Mrs. Jenkins, once wardrobe woman, now landlady, had been good to her. Veronica hadn't realized until this moment how good! She hadn't realized that the price she paid was so low - if she could pay more - if she could be on a level with the other boarders - her conscience would be clear, but she was living on the last of her savings! She thought suddenly of an alternative, one that made her shudder, but she was a brave woman. When a knock sounded on the door she was able to smile -

SOUND: (KNOCK ON DOOR)

VERONICA: (CALLS) Come in -

SOUND: (DOOR OPENS)

MRS. J: I brought a luncheon tray - chicken salad and rolls and tea and a pastry for dessert - (PAUSE) You feeling all right, Miss Veronica?

VERONICA: Why do you ask?

MRS. J: I thought you were looking a bit pale. If you're under the weather, I'll call a doctor -

VERONICA: You're bringing my decision into the open, Mrs. Jenkins! Yes, I am a bit under the weather - though not sick enough to need a doctor - so I've decided - (STOPS)

MRS. J: Yes? What have you decided, Miss Veronica?

VERONICA: I've decided that I should live in a place where I'll have expert care, nursing if necessary. . .Mrs. Jenkins, I'm afraid I'll have to leave you -

MUSIC: UP TO CLIMAX. . .

ANNCR: In just a moment Bette Davis will be back again but first - No men have earned the right to call the world their own. Two who have come fairly close on the basis of travel and experience are Edward R. Murrow and Lowell Thomas. Wanderlust has never served a more fruitful purpose than theirs...for it's their eye-witness experience that lend so much authority to their broadcasts. Monday through Friday evening on most of these same stations, you're listening to more than mere second-hand reports when Edward R. Murrow and Lowell Thomas are on the job. Each man has the knack, born from personal experience, of translating a headline into its historical values...A news feature into its full depth of meaning. You can['t] buy experience like theirs. But thanks to them and to CBS Radio, you can have it every weekday evening. Make Edward R. Murrow and Lowell Thomas a habit. It's a sure way to be fully informed... And to be fully certain that the information you're getting is factual, coached in terms they understand and you understand, too...Edward R. Murrow and Lowell Thomas...on most of these same stations.

MUSIC: UP AND UNDER . . . (ZIMMERMAN THEATRE HOUR TR. 6)

ANNCR: And now back to our story, with Bette Davis.

BETTE: Veronica was conscious of the expression, half surprise and half relief, that crossed her landlady's face. She averted her own face, ever so slightly, as Mrs. Jenkins spoke -

MRS. J: (A TRIFLE STIFFLY) I've tried to look after you, Miss Veronica, to the best of my ability -

VERONICA: I know you have, but I'm getting very old and you're a busy woman. If I needed care in the dead of night - (STOPS) There's a home in New Jersey for elderly actors and actresses -

MRS. J: (SHOCKED) But, Miss Veronica - a home?

VERONICA: (GOING ON STEADILY) For a long while I've toyed with the idea of entering that home.

MRS. J: But you've lived here for - twenty years -

VERONICA: Yes, twenty long years - twenty happy years. But all good things must come to an end, Mrs. Jenkins.

MRS. J: I'm glad you feel that living with me has been - a good thing. If you've quite made up your mind, I won't say anything to - to change it. I know how you've always hated arguments.

VERONICA: Yes. You know.

MRS. J: Once you've made up your mind to stick to it - (WITH MASKED EAGERNESS) When would you be leaving, Miss Veronica?

VERONICA: I'll phone the home this afternoon - (PAUSE) I'll ask for an application form - (PAUSE) If I'm accepted, and I'm sure I'll be accepted - I'll leave by the end of the week, at the latest.

MRS. J: But that's so soon -

VERONICA: I've always lived by the rule of - the sooner the better. I was never one to dilly-dally. I made the transition from Shakespearian to modern plays as quickly as I snap my fingers - (SHE SNAPS THEM) just like that. . .I decided between marriage and a career - (AGAIN SHE SNAPS HER FINGERS) just like that!

MRS. J: I'll miss you - (SUDDENLY HUSKY) William will miss you. . .We'll all miss you!

VERONICA: And I'll miss you, Mrs. Jenkins, but I'm sure you'll have no trouble filling my room.

MRS. J: Well, rooms are at a premium. (QUICK) But I prefer you to anyone!

VERONICA: You've been very kind, Mrs. Jenkins - very understanding and tolerant. Never, through the whole twenty years, have you failed to be - (PAUSE) Understanding and tolerant. (ABRUPT) I've a little brooch I'd like to give you - (PAUSE) If you'll keep it to remember me by

- MRS. J: I recall the very day you bought the brooch. A jeweler carried in a tray of them! You asked my advice about which one to choose. I - I know what it cost, Miss Veronica, even then. You should hold onto it - (HESITATES) there might come a time when -

VERONICA: (PROUDLY) There'll never come such a time, Mrs. Jenkins! They'll take care of me very generously in the home.

MRS. J: Then I'll - (VOICE BREAKS) I'll treasure the pin always - (PAUSE) You eat your lunch, Miss Veronica - I wouldn't run off this way but I must make a phone call.

MUSIC: PUNCTUATION. . .

BETTE: The chicken salad was excellent, but Veronica could only pick at it. There was a plump chocolate eclair, for dessert, but she didn't touch it, even though she had a passion for eclairs. She could imagine her landlady making a phone call. Saying - "I can give you a room now - the old lady I spoke of is leaving." Veronica pushed aside the tray and went to the wall and started taking down pictures - pictures of herself in starring roles. When she lifted the young Juliet from its hook, her eyes once again filled with tears, and her tired lips murmured a prayer -

VERONICA: (WHISPERING) Oh, Lord - not long...I can stand it for a little while - but only for a little while!

MUSIC: PUNCTUATION. . .

BETTE: Veronica packed furiously, rejecting her landlady's offer to help. She made her phone call - she was interviewed by one of the trustees of the home - she was accepted immediately. A week after she'd made her momentous decision, she rode out to the home in a taxi - her final extravagance. As it chugged across the bridge, she looked back at the city that had known her when she was a great star - that had long since forgotten her. She arrived at the home in the early afternoon and, as she went down a long corridor, she was conscious of old eyes peering out from behind portierres. The matron showed her to a pleasant room that looked out over a garden - and she was left alone to unpack - alone, but not for long!

SOUND: (KNOCK ON DOOR)

VERONICA: (TO HERSELF) Always before it was Mrs. Jenkins...How it'll be a stranger -

(CALLS) Come in - SOUND: (DOOR OPENS BRISKLY. CLOSES WITH A LITTLE CLICK)

MILLY: (QUICK FADE) I saw you going by - and I said - "I'd recognize Veronica Halstead anywhere."

VERONICA: I think you have - the advantage of me.

MILLY: I saw you on the stage - fifty years ago - but I guess you never saw me. I was in burlesque.

VERONICA: Really?

MILLY: Looking at me now, you'd never think I was the best strip-teaser of my generation.

VERONICA: (COLD) That's a great distinction -

MILLY: Milly Rawden's my name - (CHUCKLES) Rawden in the Raw, they used to call me! Can I help you unpack?

VERONICA: No, thanks - I'm quite capable of unpacking my own things. I'm not feeble as yet.

MILLY: When you went by, I said to the others - "She's spry, for her age. Real spry.". . . Look - I didn't only come to ask if I could help you unpack - (PAUSE) It's this way - me and some of the others are getting up a show for Saturday night.

VERONICA: How - how interesting.

MILLY: And we were wondering if we could count on you - being as you were so famous - for a stunt.

VERONICA: A - stunt?

MILLY: We're all doing our little acts - acts we were noted for. Naturally, I'm not doing a strip-tease - not here - (CHUCKLES AGAIN) and now! But there was a song I used to sing about stage-door Johnnies -

VERONICA: It's nice of you to - include me, but -

MILLY: Nice nothing. We're all one big family - burlesque, vaudeville -

VERONICA: And - (FAINTLY SARCASTIC) Shakespeare?

MILLY: Well, not much of that! (PAUSE) We thought if you'd do a speech from some play - sort of a monologue -

VERONICA: I'm sorry -

MILLY: Sorry?

VERONICA: I'm afraid any speech of mine would be - out of its element, sandwiched in between songs about stage-door Johnnies, and -

MILLY: Out of place - I see! (SLOWLY) If you don't want to be friendly -

VERONICA: I'm very tired....Mixing with so many people would make me even more tired -

MILLY: If you think you're better than we are -

VERONICA: Please -

MILLY: (MUTTERING) Please, she says, like she was having tea at Buckingham palace! (STARTS OFF MIKE, SLOWLY) Sorry I brought it up - about the Saturday show...If you want to be alone, you can be alone. I'll tip off the others -

VERONICA: I'd appreciate that. . . Thank you very much.

MILLY: Don't mention it - (FADES) And I thought you were so sweet, fifty years ago, when I saw you from the second balcony -

MUSIC: UP TO CLIMAX. . .

ANNCR: In just a moment Bette Davis will be back -- In the old days, a day at home was a day alone. But now, thanks to CBS Radio, you can enjoy the brightest new tunes on programs like our HOWARD MILLER SHOW, or meet interesting, fun-loving people from every corner of the country as they visit Art Linkletter's HOUSEPARTY. Five days a week on CBS Radio, Howard Miller and Art Linkletter come your way on most of these same stations. And every time they open up new avenues of entertainment - entertainment you can enjoy whether you're working at household chores, or stopping for a well earned rest. Don't let your daily routine get you down. Get in on the fun and music with Howard Miller - be Art Linkletter's guest of honor on HOUSEPARTY - with no more effort than it takes to turn on the nearest radio.

MUSIC: UP AND UNDER (ZIMMERMAN THEATRE HOUR TR. 6)

ANNCR: And now back to our story, with Bette Davis -

BETTE: Veronica Halstead finished her unpacking with set lips - doing a stunt, sandwiched in between a vaudeville act and a burlesque act - it was too much to expect of her. When she left her room, toward the end of the afternoon, and walked down the long corridor, she was still conscious of old eyes watching her from behind long portierres, but nobody ventured out to speak. At a turn in the corridor she came upon Milly Rawden, but Milly's nose went up and she turned abruptly in the other direction. As she passed through the door, she encountered the matron - a quiet woman, with a gentle smile, named Winifred Sheldon -

MATRON: We hope you'll be happy here, Miss Halstead.

VERONICA: Thank you, Miss Sheldon.

MATRON: We're like one big family - everybody pulls together - VERONICA: Yes, so I've heard -

MATRON: They've been buzzing about you, ever since they learned that you were coming. They're excited - and thrilled - and proud. . . I'll introduce you to the group at supper -

VERONICA: I think I'll be too tired to eat supper - with a crowd, Mrs. Sheldon. . . I'll go back to my room as soon as I've had a breath of fresh air.

MATRON: That's a pity. They've all been looking forward to your first night - that sounds very theatrical, doesn't it? (WAITS FOR AN ANSWER THAT DOESN'T COME) But of course, if you're too tired, I won't urge you -

MUSIC: PUNCTUATION. . .

BETTE: Veronica left the matron standing in the doorway, and went along the porch. It was empty at this hour. The old actors and actresses were getting ready for supper. She sank into a chair, and closed her eyes and if her eyelids felt hot from unshed tears, and if she were thinking of her pleasant picture-hung room back in Mrs. Jenkins' boarding house, both her tears and her thoughts were secret. And if she were dreaming of the old days - (STOPS) She thought she was dreaming when she heard a voice speaking from below the porch -

ERIC: (BELOW MIKE) "What light from yonder window breaks? It is the East - and Juliet is the sun -?"

VERONICA: "What light from yonder window - " (STOPS) I'm losing my mind - it's cracked under too much p-pressure, but I'd swear -

ERIC: (BREAKING IN) Don't swear. . . Hello, Veronica...And for goodness sake open your eyes. You look deader'n a door nail with them shut!

VERONICA: (OPENING HER EYES) I - I - Eric, it's you! Eric Fillimore.

ERIC: Yes - it's me.

VERONICA: What are you doing here?

ERIC: Same thing you are, Veronica -

VERONICA: You mean - (GULPS) that you live here?

ERIC: Sure I do.

VERONICA: But why?

ERIC: Bad investments - lack of incentive. If you'd married me, Veronica - I'd have had the incentive.

VERONICA: Incentive indeed! That's just like a man - dreaming up a fummy-diddle alibi!

(SNORTS) Don't blame me, Eric, for your lack of financial acumen... Come up on the porch -

ERIC: I was just waiting for the invitation - (CHUCKLES) I'll be with you in a minute - (FADES) Keep a chair warm for me.

VERONICA: (TO HERSELF) Eric! Eric alive - (PAUSE) Eric Fillimore - it's too incredible!

ERIC: (FADING IN) Well, here I am...It's been a long while, Veronica - (PAUSE) But you still have slim, lovely fingers -

VERONICA: It's been a very long while since those fingers have been kissed, by you or anyone else, Eric -

ERIC: If you hadn't been so ornery - so set in your ways, Veronica, we'd have been sitting beside each other on our own porch, maybe. Well, we'll sit across from each other at the supper table - I've arranged that!

VERONICA: (WEAKLY) I was going to my room, early.

ERIC: Oh no you're not going to your room early - you're sitting opposite me at the supper table - and it's what you should have been doing for years. And after supper, we're going to meet with the show committee...It just so happens I'm the chairman -

MUSIC: PUNCTUATION. . .

BETTE: It was Saturday night. Veronica was dressing for her act. As she fitted the little cap of pearls on her grey hair, as she straightened the puffed sleeves of her gown, she was softly flushed, and her eyes were gleaming. She glanced at the picture that hung beside her mirror. The picture of a young girl, slim, innocently beautiful. She gave a final pull to her full skirt - she was ready when a knock sounded on the door -

SOUND: (A KNOCK ON DOOR)

VERONICA: (CALLING) Wherefore art thou, Romeo?

ERIC: (OFF MIKE) You know darn well where I am - right here, waiting for you! As usual -

SOUND: (DOOR OPENS, AFTER A MOMENT IT CLOSES SOFTLY)

ERIC: You're a knockout, Veronica! (RELAPSES INTO SHAKESPEARE) "See how she leans her cheek upon her hand. Oh, that I were a glove upon that hand - that I might touch that cheek."

VERONICA: (FONDLY) You idiot! ERIC: Sure I'm an idiot - I don't deny it. I was an idiot and a weakling to let you get away from me. . . Yes, you look like a million dollars, Veronica. And don't glance down at my legs - I know they're thinner than they used to be.

VERONICA: But your voice isn't - (SLIGHTLY HUSKY) And neither is your heart -

ERIC: You can say that again, Toots!

VERONICA: Toots. . . You've been fraternizing with Milly. . . We've kept our costumes for a long while, Eric -

ERIC: As souvenirs of something beautiful. Souvenirs of the past -

VERONICA: Not only as souvenirs of the past, my dear - we've been holding them in trust for this night, although neither of us knew it -

ERIC: In trust - for this night - (LONG PAUSE) They've given us the star spot on the bill, Veronica -

VERONICA: (CRISPLY) And so they should! . . Come on, Eric - let's join - our friends.

MUSIC: CURTAIN (HATCH SUMMER HOUR TR. 4)...UP AND OUT SEGUE MUSIC: THEME (B.G.) HATCH SUMMER HOUR TR. 5

BETTE: So two old people were reunited and I can't help smelling the fragrance of faded orange blossoms - sometimes they're sweeter than the ones that have just opened - (PAUSE) Speaking of sweetness, do you remember the matron, Winifred Sheldon - the quiet woman with the sweet smile - who told Veronica Halstead that the people in the home were one big happy family? Although Winifred was in her young forties, she lived a cloistered life with a group of very old people, and though she loved them all - she sometimes longed for a taste of adventure - for a change of pace - and one day she decided that she'd go in search of both -

ANNCR: In just a moment Bette Davis will be back to tell you more about Winifred Sheldon, but first - The tense, withdrawn businessman who can't tear himself from the office is a vanishing species, thanks to Walter Cronkite's business news broadcasts. A man with real business. Few men can find time for leisure today, once he knows when to listen for Walter Cronkite's timely tips on the news of business and finance. Every day and evening, Sunday through Friday, hear Walter Cronkite with today's business news. Saturdays Bill Downs reports, over most of these same stations.

MUSIC: THEME UP AND FADE TO B.G.

ANNCR: And now here's Bette Davis who'll tell you more about Winifred Sheldon -

BETTE: Yes, here I am to tell you more about Winifred Sheldon's strange pilgrimage. . . She fared forth from the Home - hoping to find something new and different - (LAUGHS) Well, she found something new but it wasn't exactly different! I'll bring you her story tomorrow. . . Until then, this is Bette Davis saying goodbye. . . from the WHISPERING STREETS.

MUSIC: THEME (HATCH SUMMER HOUR TR. 5) UP AND FADE TO B.G.

ANNCR: WHISPERING STREETS brings you a complete story every day, Monday through Friday. Today's program was written by Margaret E. Sangster. Featured in the cast were Lurene Tuttle, Victor Rodman, Ruth Perrott and Cathy Lewis. WHISPERING STREETS was directed by Gordon T. Hughes and produced by Ted Lloyd . . . Your announcer is Dan Cubberly. Join us tomorrow for another complete story from ... the WHISPERING STREETS.

Edited August 12 by Paul Raven

[DRW50]

Thanks @Paul Raven

A shame radio was completely gutted not long after this point. 

You have probably already shared this and I missed it, but do you know if Right to Happiness was ever considered for TV? Seems like it was one of the few of the big radio stalwarts that wasn't (some like Ma Perkins, Mary Noble or Stella Dallas would have clearly not translated).

[vetsoapfan]

Has anyone ever listened to The Archers, the British radio soap that has been broadcasting since 1951?

Just curious.

[DRW50]

I've listened a few times, although not often enough. It can be tough to dive in as the show has gone on so long and many years are impossible to find.

[vetsoapfan]

That's why I've never really gotten around to giving The Archers a try. Since so many years are unavailable now, I'd at least want to have recaps of the story from the beginning in order to get my bearings before I dive into the show. A soap that has been running for 74 years must be doing something right, however, so I'm curious about its appeal.

[dc11786]

Regarding "The Right to Happiness," I imagine the televised radio adaptations of "One Man's Family," "Portia Faces Life," and "The Road of Life" in quick succession killed any hope of the show making it to TV. Phillips had stopped writing for the show in late 1942 so her connection to it was long gone. 

By the late 1950s, you also ran into the show's history presenting itself on the screen with Carolyn married to one man (Lee) while still cordial with her former sister-in-law Debbie (from her marriage to Miles) and raising her son Skip 
(by her marriage to Dwight). And, if they revealled to Skip he was born in prison (which I don't think he learned on radio), they would have to address her first marriage to Bill Walker. There was also "Young Doctor Malone" route of just resetting the show with Carolyn and new husband, while maintaining her son Skip. 

Late run "Right to Happiness" could have played on TV easy with its stories, but I imagine networks may have wanted more control of things like casting by that point. Also, radio shows were seen as dated after a while, even while shows like "Right to Happiness" were keeping up with the times by having Carolyn return to the workforce, Anne Braden becoming discontent at just being a housewife, and emphasizing the class conflict between Skip and lower class Grace Driscoll. I also have to wonder if the fact that those late run shows started to collect exclusive radio talent, that the possibility of transitioning the cast to television seemed too difficult. 

[DRW50]

Thanks for your detailed response. I didn't realize just how complex the narrative had grown.

[dc11786]

Here are some brief weekly descriptions (scattered) from 1956-March, 1959. It gives a broad sense of the plot. The early to mid-1950s has all the political intrigue followed by the scams of Jack Townsend and the insurance fraud ring. It only really improves when it is cancelled in late 1957 and returns in March, 1958, focusing on family and romantic intrigue. 

-----

 

January 3, 1956: Tells the story fo Carolyn Nelson, played by Claudia Morgan, a young widow facing the problem of supporting a teenaged Skippy. 

March 14, 1956: Widowed Carolyn Nelson continues her philanthropic work, unknowingly surrounded by forces of evil. 

August 29, 1956: Secretly working with the District Attorney’s Office, Carolyn Nelson continues her friendship with Jack Townsend until specific evidence against him can be collected by the prosecutor. Claudia Morgan stars as Carolyn Nelson.

September 10, 1956: Jack Townsend falls prey to his own subtle game when he succumbs to the flattery of Carolyn Nelson, who is secretly working with the District Attorney to regain a huge sum of money Townsend obtained through fraud. Claudia Morgan stars as Carolyn, and Staats Cotsworth is featured as Jack Townsend. 

September 13, 1956: Swindler baited on Right to Happiness.

September 18, 1956: Carolyn Nelson faces a court charge of mismanaging trust funds when Jack Townsend is arrested as a swindler.

September 20, 1956: with the arrest of Jack Townsend as a swindler and the resulting exposure of his inability to repay a huge, unsecured loan from the Wayne Trust she administers, Carolyn Nelson realizes she faces a court charge of mismanaging the trust funds. Claudia Morgan stars as Carolyn. 

December 29, 1956: Lee MacDonald is faking an accident to learn of the ambulance chasing racket suffers injuries.

February 23, 1957: Lee MacDonald, feigning injuries in an automobile accident in order to trap a ring of insurance claims shysters, suffers doubts after granting Carolyn Nelson, his secretary, permission to confide his secret in her 16-year-old son and David Lynch, a close friend on CBS Radio’s “Right to Happiness” at 2:05-2:15 PM EST. John Larkin and Claudia Morgan portray Lee MacDonald and Carolyn Nelson. 

March 2, 1957: Carolyn Nelson’s self-concern over secret involvement in the dangers of an insurance claims racket investigation pales when she dawn into a frightening dispute between Linda Chalmers and her sister-in-law, both old friends.

March 8, 1957: On the first day during Lent on which World Day of Prayer is observed throughout the world, Right to Happiness brings a portion of the church service attended by the star of the series, Carolyn Nelson.

July 14, 1957: The specialist hired by Carolyn Nelson to prove that Lee MacDonald is being victimized by insidious drug treatments at a nursing home reports he can find no organic deterioration but implies Lee is in great need of psychiatric therapy on CBS Radio’s “Right to Happiness” at 3:30 to 3:45 PM. Meanwhile, the insurance claims racketeers operating the rest home press MacDonald’s suit for $200,000 knowing his appearance in court will provide a dramatic exhibit of mental injury

July 24, 1957: Seasoned racketeers on Right to Happiness

August 7, 1957: Evidence left unguarded on Right to Happiness.

August 21, 1957: Police cooperation given on Right to Happiness.

September 18, 1957: Emotion upsets judgment on Right to Happiness.

October 8, 1957: Helen Mason, nurse attending Lee MacDonald, reports overhearing a racketeer’s confession of drugging her patient, rushes the information to the authorities, and breaks the defense of a fraudulent insurance claims case. Ruth Newton is featured as the nurse in the series starring Claudia Morgan. 

October 9, 1957: Nurse becomes alert on Right to Happiness.

November 14, 1957: Interest beyond duty on Right to Happiness.

December 7, 1957: Lee MacDonald starts work on his novel in radio program “Right to Happiness,” here here over WMAZ at 2 pm daily. John Larkin is heard as Lee MacDonald. 

March 29, 1958: Monday, “Right to Happiness,” daytime dramatic serial starring Claudia Morgan returns to CBS five days a week. First heard in 1939, story dramatizes the life of Carolyn Nelson, young widow. Program will be heard Mondays through Fridays at 2:05 PM

April 10, 1958: Bitter experience on Right to Happiness. 

July 23, 1958: Despite the days of anguish his sister caused by running off with his infant son, Craig Chalmers argues with his wife to be lenient when the child is returned. Craig is forced to a painful realization of his sister’s emotional instability. 

August 28, 1958: When teenaged Skip Nelson accuses his mother of snobbery, she realizes the depth of his infatuation for Grace Driscoll, brash newcomer with questionable associates. Carolyn’s quiet investigation of the girl’s family and friends confirms her qualms. 

September 3, 1958: To refute her teenage son’s accusation of snobbery over his firendship with Grace Driscoll, widow Carolyn Nelson gives a small party for him and invites the girl. Carolyn gambles on opening his eyes to the girl not acceptable as a member of his group. 

September 9, 1958: Hearing Grace Driscoll, 17-year old newcomer to Meridian, boast of her ability to influence Skip Nelson’s future, his mother investigates their friendship which is being fostered by the girl’s conniving parents. 

September 25, 1958: Carolyn Nelson, widowed mother of 17-year old Skip, is shocked ot hear he plans to leave school to take a full-time job and marry Grace Driscoll. She quietly persuades him to wait until he completes his senior year. Meanwhile, she strikes on a plan to make him aware of the financial responsibility he must be prepared to assume. 

October 1, 1958: In her attempts to break off her 17-year-old son Skip’s romance with Grace Driscoll, widow Carolyn Nelson wins unexpected support. The employer of Grace’s shiftless father makes a suggestion. 

October 20, 1958: Carolyn Nelson learns about the unsuccessful attempt of her teenage son and Grace Driscoll to be married by a justice of peace. THis justifies Carolyn’s giving the boy shocking facts about Grace’s dishonesty. 

October 27, 1958: Recent crisis occurred when the son of the heroine tried to elope with Grace Driscoll. The couple overlooked the fact that they needed a license. 

October 30, 1958: When 17-year-old Skip Nelson scoffs at the shocking facts about the dishonesty of the girl whom he tried to elope, his mother persuades him to delay the marriage until he has finished high school. 

November 12, 1958: Carolyn Nelson temporarily delays her 17-year-old son Skip’s elopement with Grace Driscoll by promising them a church wedding and reception if they postpone marriage for four weeks. 

December 10, 1958: Two weeks before her marriage to classmate Skip Nelson, Grace Driscoll is placed on probation for cheating in an honor system examination. Skip is shaken by the confirmation of his mother’s objection to Grace. 

December 18, 1958: As plans progress for the wedding of teenaged Skip Nelson and Grace Driscoll, his mother fights her misgivings about the girl’s honesty. Grace’s parents volunteer no help with reception or furnishing of an apartment. 

December 25, 1958: In a broadcast within a broadcast, Claudia Morgan, star of the daily “Right to Happiness" serial, introduces a reading of her favorite Christmas story, Henry Van Dyke’s “The Other Wise Men.”

January 19, 1959: On the eve of her marriage to teenaged Skip Nelson, Grace Driscoll cannot find the money she has saved to pay for her wedding dress. She finally gets the dress. 

February 8, 1959: The night before his marriage to Grace Driscoll, 17-year old SKip Nelson is called to police court and hears that his bride-to-be has pleaded guilty to stealing the wedding dress she is planning to wear. 

February 21, 1959: Nursing regret over his broken romance with Grace Driscoll, 17-year-old Skip Nelson learns that she needs his help in a matter involving her ne’er-do-well father. Carolyn, Skip’s widowed mother, fears a renewal of the youngsters’ determination to get married. 

March 3, 1959: Though widowed Carolyn Nelson resents her son Skip’s love for Grace Daniels, she admires the young girl’s heroic effort to save her ne’er-do-well father from tragedy. By her kindness to Grace at this moment, Carolyn regains her son’s confidence. 

March 9, 1959: Lee MacDonald and widowed Carolyn Nelson decide to marry on Friday, the 13th, and break the news to her son.
March 12, 1959: Friday: The hero Lee and the heroine Carolyn of John M. Young’s “Right to Happiness,” to be married at 10:05 am on KNX. Claudia Morgan has been Carolyn Nelson for 16 of the serial’s 20 years and Kevin McCarthy Lee MacDonald less than two years ago.

[DRW50]

Thanks for finding all those @dc11786 I'd forgotten the show went off for a bit. Glad they could return to close on a better note.

Edited September 16 by DRW50