Studio One (radio Series)

''Studio One'' is an American radio dramatic anthology series that was broadcast on CBS from April 29, 1947, through July 27, 1948.

Overview

''Studio One'' focused on presenting adaptations of novels and plays that had seldom, if ever, been broadcast, and the script editor had instructions to deviate as little as possible from the original work. Authors whose works were adapted for the program included Dashiell Hammett, Sinclair Lewis, Edna Ferber, Thomas Hardy, Prosper Mérimée, Ring Lardner, Henrik Ibsen, Benn Levy, and Malcolm Lowry. Fletcher Markle, the director, sometimes acted in episodes.

Initially the program used a stock company of radio actors that included Anne Burr, Joe DeSantis, Robert Dryden, Mercedes McCambridge, Paul McGrath, Stefan Schnabel, and Hester Sondergaard. Late in 1947 CBS instituted a "name talent policy" to bring in better-known actors as guest stars. The trade publication ''Billboard'' reported that the change, to be accomplished by increasing the show's talent budget, was made in hopes of attracting a sponsor. Another trade publication, ''Variety'', said, "This may be the first time a sustaining series has ever taken the plunge into the film talent pool in such a pretentious way." Stars who appeared under the new policy included Marlene Dietrich, Charles Laughton, James Mason, Franchot Tone, and Robert Young.

Production

''Studio One'' was initially broadcast on Tuesdays from 9:30 to 10:30 p.m. Eastern Time. CBS executives scheduled the program opposite NBC's shows that featured Fibber McGee and Molly and Bob Hope. The plan was "to build up an audience through the use of the longest possible adaptations of novels and other material suitable for radio plays." Features provided by the series's "rather healthy budget" included a 20-piece orchestra. Beginning February 3, 1948, ''Studio One'' was broadcast from 10 to 11 p.m. Eastern Time on Tuesdays as part of a CBS move toward "mood programming". It followed '' The Adventures of Christopher Wells'', which was also shifted to that night. Creation of Tuesday as a night of drama on CBS followed the network's making Friday a night of comedy and reserving Sunday afternoons for "a period of continuous musical programs".

''Studio One'' was CBS's highest-rated sustaining program. Its Hooper ratings were usually in the 9-10 range. Total production costs from its launch through the first half of 1948 were estimated at $300,000. It received Honorable Mention in the 1947 Peabody Awards in the field of drama. The citation noted the program's use of "remarkable material from books, plays, and short stories, preserving the spirit of the original in a production which, at its best, is distinguished for its taste, restraint, and radio craftsmanship."

Displaced by ''Ford Theater''

The demise of ''Studio One'' as a radio program began when '' Ford Theater'' moved from NBC to CBS effective October 8, 1948. An article in the trade publication ''Billboard'' suggested three reasons that ''Studio One'' would likely be dropped after ''Ford Theatre'' began on CBS:
*''Ford Theatres budget for guest stars was a reported $5,000 — in contrast to the $1,500 of ''Studio One''.
*If both programs were on the air, ''Ford Theatres commercial status would enable it to consistently obtain better scripts.
*Ford might oppose continuation of ''Studio One'' because "the format of the two shows is virtually identical."

''Variety'' reported tentative plans that called for Markle to become director of ''Ford Theater'', which "would provide the opportunity to jettison ''Studio One'' without undue formality." In July 1948 CBS executives William Paley, Hubbell Robinson, and Frank Stanton met to discuss possibly making ''Studio One'' a West Coast production that would be supervised by Harry Ackerman and produced by William Robson and probably would be converted to an adventure format.

''Studio One'' was canceled after ''Ford Theaters move to CBS, ending its 64-week run. In October 1948 the network announced plans to revive the title on television, with two episodes planned each month from 7:30 to 8:30 p.m. E. T. on Sundays. One of the other two slots was reserved for the TV version of ''Ford Theater'', with the fourth slot not yet filled.

Robert J. Landry was the producer of ''Studio One'', with Markle writing and directing. Lee Vines was the announcer, and Alexander Semmier provided the music.

Episodes

Critical response

The radio editor of ''The Plain Dealer'' newspaper wrote, "Except for a slightly tired introductory scene" the premiere episode "was imaginative and sure". His review described the dialog as "strong and purposeful and sharply written" and said that the actors "were exceptionally well cast."

Media critic John Crosby wrote that the first two episodes of the program needed "some incisive editing". Although they "were ambitious, adult, absorbing, and, as radio fare goes, very sophisticated drama," he explained, "They were also in parts jerky, cloudy and over-elaborate." Crosby commended the acting but said that he thought Markle was too much involved as director, producer, and writer. He said that a director who was not involved in writing the scripts "might have speeded things a bit".

Magee Adams wrote in ''The Cincinnati Enquirer'' that ''Studio One'' surpassed the quality of typical summer-replacement programs. He said that it "measures up to ''Theatre Guild''. Which, in this reviewer's book, is top grade." He added, "Summer schedules will have to soar far above usual form to surpass the new CBS production."

Jack Gould of ''The New York Times'' called ''Studio One'' "an important and welcome supplement to existing radio fare" because the program was "not afraid to present drama of controversy and point of view." He added that this show, combined with then-current documentary programs on CBS presented a challenge to other networks "in meeting the demand for improved balance in programming." Gould complimented the performances of Sloane and Burr while noting that Markle's use of special effects sometimes overshadowed the story. Gould wrote that Markle should "remember that the rudiments of direction must come before the tricky refinements."

''Varietys review of the premiere episode noted Markle's use of techniques that included flashbacks, crowing roosters, rapid segues between scenes, thunder-and-lightning backgrounds, and staccato hoofbeats of horses to accompany a conversation and said, "much of it was distracting". The review added that "constant changes in scene" created a choppy effect.

References

{{Reflist

1947 radio programme debuts
1948 radio programme endings
1940s American radio programs
American radio dramas
Anthology radio series
CBS Radio programs