June 16, 2024 • 58 mins
The Campbell Playhouse was a radio drama series that aired on CBS from 1938 to 1941. Here's a breakdown of what made it interesting:
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- Star Power: It was directed by and starred the legendary Orson Welles, known for his innovative use of sound effects and captivating voice.
- Classic Adaptations: During its first two seasons (1938-1940), the show focused on hour-long adaptations of classic plays, novels, and even some popular movies. Think "The Count of Monte Cristo" or "Rebecca" brought to life through radio.
- Shifting Format: After Welles left, the show continued for a season with a shorter format (30 minutes) and a focus on lighter fare, often featuring Hollywood actors.
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Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
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Episode Transcript
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(00:19):
The makers of Campbell Soups present theCampbell Playhouse, Arson Wells Producers. Good
(00:50):
evening. This is Dawson Wells.Sixteen weeks ago tonight, I joined the
Campbell Playhouse and if you remember,we dramatized Rebecca Well, I'm pretty sure
if you remember Rebecca, you'll neverforget Margaret Sullivan. And I know you're
glad that Margaret Sullivan is sack withus again with us this evening to play
Magnolia in Showboat. Now. I'vetried to make our radio version of Showboat
(01:11):
as true to its original as possible. But don't worry. The Campbell Playoffs
wouldn't dream of being so different asto do Showboat without Helen Morgan. Helen
Morgan is Julie, Wonderful, wonderfulHelen Morgan with an old song which is
new to her and new to Showboat, maybe even new to you. And
then there's William Johnstone who's playing gayLord ravenol Ray Collins is playing Wendy,
(01:34):
and I'm playing Captain Andy Hawks.Finally, Edna Ferber, herself, Edna
Ferber, who wrote Showboat, comesto our microphone and begins tonight her career
as an actress begins it in theservice of one of her finest stories and
in the character of one of hermost famous creations, Parthy Hawks. Ladies
and gentlemen, the big show willstart in just one minute. Come one,
(01:56):
come all, it's the rage ofthe river. To quote Captain Andy,
it's the same sensation of the centuryin one minute, ladies and gentlemen,
show booked. Just before we start, a word from nis Chapel.
Up to a comparatively short time ago, vegetable soup, more than any other,
had been associated with the traditional homesoup kettle. For years, many
(02:20):
housewives followed the old time custom ofmaking this soup in their own kitchens,
until one by one they discovered Cambell's. They found that Campbell's vegetable soup had
the same good flavor, the samenourishing quality they themselves had always driven to
get. Now, if it happensthat you are one of those who haven't
made this discovery, and if youstill think good vegetable soup can only be
(02:42):
made at home, may I suggestthat you try Campbell's vegetable soup. I'm
sure it's convenience will appeal to youimmediately. It's ready to serve in almost
no time at all. But whatis even more important is this. You
will find in Campbell's vegetable soup thesame good, home made character and the
same homey flavor that you'd look forin the finest kettle of soup you ever
(03:04):
made in your own kitchen. Campbell'shave kept faith with time honored home traditions
in making this soup. You cantell that in the taste of your first
few spoonfuls. Expert home cooks sippingthis soup critically not their approval. So
won't you give Campbell's vegetable soup atrial? Make a note of it in
planning Tomorrow's meals? And now MargaretSullivan and Arson Wells with Helen Morgan and
(03:27):
authoress Edna Ferber in show Boat.If you were an obituary of old South
Clark Street in Chicago's gay Nighties,you may remember it still Nola Ravenel,
soup brettes and that amazing slow smilethat still talked about among the older writers
(03:49):
on the dramatic pages, some ofthe same men who today print four column
pictures of a daughter Kim Kim Ravenelon the front pages of Sunday sections to
Magnoli had all seen like a vaguedream. Now, those long years in
Chicago with Ravenol, months of heartbreakand failure after he'd gone away, the
years of success playing Chicago, playingthe Circuits, playing the East, and
(04:12):
then at sixty retired, living withKim in New York, watching Kim's success,
knowing all the right people, goingto the right places, a strange
dream world in which he'd been livingall these years, and now suddenly back
reality. And that piece of yellowpaper delivered to Kim's dressing room the night
before, crumpled now from being heldin her hand all day as the train
(04:34):
carried her south back towards the river, back home Parthenia. Anne Hawks died
suddenly eight o'clock before evening show CottonBlossom playing Cold Spring, Tennessee Sympathy Company.
George, Doc Bernato, You've justgone another that soul, staying on
(04:59):
this miserable boat all these weeks andmaking me come all the way down here
to get you. We're going backto New York on the night trailing on
the tenth we say off for London. No you do, Kim, I
don't. I'm staying here. You'rehot I'm staying here, Kim, with
the show boat. You can't meanit, mother, flopping up and down
those wretched rivers, and this heatand the flies and the mud. You
could be with me in London,around the island, or even nothing.
(05:24):
It's cool there, Kim, Yes, mother, Kim, listen to me.
I've made up my mind. I'mstaying here. Mother. I don't
understand, of course you don't.How could you listen, Kim? Listen
to that. They can hear thecaliga playing for miles around, up and
down the river, the little violandwill be twilight, that's the most exciting
(05:47):
hour of the day. And beginto light the lamps inside the auditorium and
the search lights along the bluff,and people start coming in down to the
landing, along the river banks,down the road, the farmer, the
wise river folk, hangers on,and by seven they'll all be here.
There won't be an Emphythe crops hasbeen good around Oliver this here, even
(06:08):
the boxes will be filled, andthen presently the show will start. It
hasn't changed, Kim, It hasn'tchanged. The tolls been years since Nola
Ravenol was Magnolia hawks, the rageof the river, the sensation of the
(06:30):
century, the queen of the cottonblossom. The cotton blossom, that's what
Captain Andy's showboat is called. Greentrimmings and gold letters foot high. Captain
Andy Hawks cotton Blossom floating Palace theater. I were right in the company,
not counting the crew. Andy Hawkshimself, Captain and Ona, with thirty
five years experience on keelboats, steamboats, packets and showboats. A little nervous,
(06:55):
wiry man with a horrible habit ofclawing and scratching in his whiskers hung
like brushes just below his white cammancap. There was his wife, Fathinia
and Hawk's, a bulky, frigidfemale with a long, hoarse face and
a New England passion for discipline.There was Julie Doser with her rich,
deep voice. There was Old WindyPilot and George Schultz and the rest of
(07:17):
them. Year after year, thecotton blossom floated down. The rivers started
out in April and got back inSeptember, and year after year they gave
the same place. East Lynne,Lady Audley's Secret Tempest and Sunshine mad Cap
Marjorie Uncle Tom's cabin. Year afteryear they grew more successful, and then
one morning at mobile, cap'n Andymade a shocking discovery. In the night,
(07:41):
his azure new lead had packed hertrunks and left left with a black
mustached gambler who had followed her downthe river from Paducah, Kentucky. And
that afternoon the Capt'n's cabin, agreat battle was fought of the fate of
the girl with a pale face anda large mouth from America. Years later
was to applaud under the name ofMagnolia Ravenant. At this time she was
(08:01):
just sixteen, and her name wasMaggie Hawks, my own daughter, an
actress over my dead body Hawks.And she now reads ain't hanging around on
trees, No, sir, takeus a week to get won't you car
another week for her to learn herparts, and then maybe she won't be
no gang good. Maggie could goin there tonight, she'd be great.
(08:22):
I won't hear of it now,partty are just working yourself. Ford ought
to be proud of stepping in savingus money. We got close up.
If she don't rather have her inher grew she knows all the parts.
Why I ever allowed her to stepfoot on this filthy skull with a lot
of riff raps that I wouldn't touchwith a ten foot part. I wasn't
here party in your hawks. Wegot the biggest advance here we had this
season. Yes, sir, docsdown, says raked, and with both
(08:43):
hands, if you had the leastbit of gumfing instead of sitting there whining
and carrying on, you wet theadvanced well three hundred, not anywhere near
four o'clock. Oh well, haveit your own way. Then it's no
use arguing with you. But rememberit's against my wishes and over my dead
body, and if any harm,it's all know where the blame ways.
Magnolia, Magnolia. Why ain't youon the sage rehearses? Now you think
(09:07):
you'll be able to go on tonightof here? Don't so? No rehearses
Magnonia. The Mysterious Comedy Tragedians,Here to Believer, the Rage of the
River, the Sensation of the Sensories, and s Here the night Folks in
the Parson's Fright set fourth in unrivaledscenery and costumes, Fireside, mister Georgell's
(09:33):
favorite from Delos to New Orleans forten years, leading player with mister Booth,
mister and missus means and a score, while the luminaries after the show
that the content with singing and dancingin the cart fifteen said extra, but
it's worth it. It's worth it, ladies and gentleman, I can tell
you to him. Miss Julie Dosherfresh from Triumphs East in the latest numbers
from a repertore. Bring the children, come one, come all a cotton
(09:56):
russ and kay, it's just onemen, What have all your friends who
jested you? No, but friendshipis too cold. A passion to come
my heart now, Oh, giveme a friend and cousin to a sweet
(10:20):
heart, My dear Miss Drowse,Miss Lucy, please don't call me miss
Krause, Lucy defender of the father. Will you be a poor man's flies?
Oh yes, yes, Lucy,my own albums? Oh for them
(10:48):
at pay their fifteen cents. Yougot a first rate concert. First on
the programmacing gentlemen, the word theonly, the inimitable julidojor we'll render her
latest triumph from the East. Tom'sstop the show New York's produc During the
people Boli Bah the song that They'reStill Crying at in Boston. Why No
One to Love? Composed and writtenby mister Stephen Foster. Ladies and gents,
(11:09):
missus huidoter No one to Love?In this fallver for of one one
(11:37):
and glady eyes waver is the womnot lovely confined, but he's lovely.
They need the blues colors. NoOne long, no to Loe? Why
(12:11):
no One to Love? What haveyou done? You? Miss you?
That you are? Sigh? Noone love? Strange woman, usual with
(12:46):
a white face and the deep set, dark dead eyes. In the four
years she was on the Cotton Blossom, Magnolia got to like her better than
anybody else in the world except Captainand Andy. Maybe in a way she
had a lot to do with whathappened to Magnolia in later Yearsly, who
(13:07):
is it, oh Magnolia? Howcan I come in? I couldn't go
to your mother so excited singing.Come in and shut the door. Julie,
listen, I'm gonna tell you something, and I want to ask you,
do you think I can ever bean actress? A real actress?
I mean, who was sure?Honey? You were wonderful tonight A little
(13:31):
scared maybe, but oh gee,that loved you. Mamma doesn't want me
to be an actress, not really. Besides, I'm not pretty, Mamma
says, I'm not. Oh,when you smile, you are. You've
got the loveliest smile I ever saw. How about Julie, Listen to me,
Magnolia. I'm gonna tell you something. Only it's a secret. It's
(13:54):
what when you grow up, don'tsmile to Wolson. That's whenever you want
anything very much unlike anyone, orwant thing to like you, smile.
I guess maybe you'll learn that withoutme telling you. Well, good night,
honey, Julie. I don't wantto go yet. They'll be wondering
(14:18):
where you are, and then partywill be after good night, good night,
Julie. Year later, Julie wasgone. She left in a way
that Magnolia never forgotten. One morningthey put in a TWI mor in Mississippi.
It was late April. The cottonblossom was only a few weeks out
(14:39):
of Saint Louis. On her waydown the river. Hey, Julie,
Julie, Julie, Yes, Papame, Julie, can we come in?
Julie. Jimmy talking here and I'mshaded down, said Julie. I
guess you've got an admirer in thistown. What do you mean? Somebody's
still your picture framing all right upout in the layout lobby? Put up
(15:03):
now there, Now that's going.Surely that's the matter. Are you sick,
Julie? Ah, ain't our Julie, And I ain't that a shamed
you. You can play all righttonight, though, can't you? No,
I can't play tonight. Don't askme. Well, if you're sick,
so old a better see a doctor. I'll be all right after a
(15:24):
while. Fox in the walk.Oh here I am partty down here in
Julie's room. Come on, you'redoing down there sitting around the gabbin.
I'll wager with the best advanced say, oh we've had since we started out
here. It is eleven o'clock andhalf the house gone already. I never
prayed this town before. A licenseal is too high. It's time for
some play acting. What's the matterwith her? Well, she's sick,
(15:46):
Well, as long as you're allright, mist night, Julie, say
she won't be won't be? Whyshe ain't sick? Is she? I
mean sick? Yes? She is? Mama. Well what you're doing sitting
here for mage, Go fetch yourdoctor. I don't want a doctor.
Persons too sick to play. They'resick enough to have it up there playing
Xenia tomorrow. Good as stands wegot probably won't be able to open there
(16:07):
either. If you're sick as allup, well, he'll be able to
slay tomorrow. How do you know? I'll be all right as soon as
I get out of this towne?That's funny? For is? Just come
over me, Julie? Yes,you took stick at this very town time
we came down river last year.None so funny about that. Soon she
(16:32):
heard we wasn't opening here because thelicense was too high, she got way
all of a sudden. No,leave me alone, can't you? Well?
I may not know my funny.I think a girl didn't have the
right to feel bad. How fardo you get along? Tend of that
ticket office? We can't show nightwe gotta leave. No sure you won't
be feeling better of a night time? Julie? Oh leave me alone,
can't you? Oh? Sure?Sure? Julie? Now party scatchy.
(16:56):
That's horse Ofwesun. Now what's that? Captain? Seems like there's something up,
honey, mean, sheriff's outside onthis what is it our licensed trades
walking around here? Is anybody don'tknow? What else? Seems like he
wants to have a look at allthe folks are board, and he ain't
no safe to be reasonable. Justthat's him coming down now, all right?
Let him come he's getting Let himcome down. Don't let him?
(17:18):
Who's telling him this year? Boot? When I am? What's wanting with
him? Hawks? His name CaptainAndy Hawks? Funny as in the rivers?
Well, Kip, who are youcheer for? This town? Understand?
You got mixed color in your show? Mixed color? What's that?
What do you mean? I'm hush, Maggie, No such thing, No
such thing on this boat. Thename of the negress is let's see Julie
(17:42):
Doja. Yeah, which one's her? That's me you, Julie Dojo.
I am who's been telling you thisstuff? Shir fella lives here seeing a
picture when you go to buy ticketsto your show, this fella says you
was born here. That's right,your mammy was colored. Well yeah,
(18:08):
well you've done here now, sheriff, cause if you are, you can
get out or have you got somethingmore to say. No, I guess
I'm done. Now I'll be going. Well, then, let me tell
you this, cat Hawks, youbetter not try to give no show with
mixed blood in this town to night. Just thought i'd worn you buy a
(18:32):
cab Hawks. Bye, ma'am,Maggie, you'll come away from here.
You know I want to stay toshoot shooting. No, you're not going
to cry, honey. Well,it's totally like tonly like I was going,
going the way we do windows afterwe close the show, Boots tell
(18:55):
it it won't be coming back againwhen it's split. Oh heaven, and
all business folks are always meeting up? Ain't that so? Capton? Yeah?
I sure think, Maggie. Comeon, Maggie, you got your
practice in march. Mama whose whycan't say you was? Julie? Well,
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Julie, what we do? I'mgoing to Captain Andy, don't worry.
I'm going. Well. I'm sorry, Julie. It's too bad.
You're the best actress who haven't hadin us board a little bit of going
when things are all packed. Julie. Yes, I just wanted to fixed
(19:40):
for money, hum hum, fixedall right, I've been saving you treated
me well, Captain yeah, I'dlike to say it, provide it make
no if you don't marry Julie.You know our party is. She don't
mean no harm, but well it'syes, she feels you and Maggie maybe
(20:02):
shouldn't h I see, you know, women folks are funny that way.
Nothing well, I guess them.Ready, yes, goodbye, goodbye,
and and thank you. Captain,you've you've been awful good and Captain tell
Magnolia goodbye for me. Sure willgoodbye Julie. Years later, when Magnolia
(20:33):
was married and living in Chicago,she saw Julie once again. Julia looked
an old woman by then. Shepassed her on the street, and by
the time the carriage had stopped,Julia disappeared. There could be no mistake
about those deep, dark dead eyesset in that white face. After Julie
(20:56):
had gone, life went on asusual on the Cotton Bosom. Three months
went by. They down the river, Memphis, Vicksburg, Natchez, Baton,
Rouge, and then at the endof August they reached New Orleans.
From there, a second disaster overtookthe Cotton Bossom. The leading man left
them. George Shultz came to thebox office where Andy and party were busy
counting up before going ashore. Itlook very pale but determined. He had
(21:17):
a letter in his hand. Igot a go cat, the old go
plaire. Well, what do youmean, shorty? It's from her,
from my wife. She's in thehospital at Little Rocks. Had gambling fellow
left her. She ain't got acent. Oh, I shall see.
I wouldn't do it for herself,no matter what. But it's her,
(21:38):
captain, It's for her, notme. Yeah, sure, see,
I gotta go. I tell youyou can take up somebody here in New
Orleans. There's a dozen better actorsthan me laying around the darts this minute.
Well, I got to talk littlefellow while ago down on the wharf.
I said I was an actor onthe Cotton Blossom. He said he'd
acted too. Maybe he'd like thejob, Yes, I spouse, he
(21:59):
would. What do you think?This is a bumboat? Plenty of wharf
rats in New Orleans would like nothingbetter. Ain't no wharf rat. Missus
hawks there he is down there,yet take a look at him. How
about that stern wheeler there? I'dgo share and talk to him if I
was you hot here and that fellowdown there in the brown shoes with the
eellow cane. Yeah, that's right. If I couldn't go and talk to
him about acting on no show boat, he's a He's a gentleman maybe,
(22:23):
but nobody feels like one with acrack in his shoe. Huh. Yes,
he's got a crack in his shoe. I can see you from here.
I can't say I like the looksto him especially, but we can't
see choosers. Well, Hawks,what you're waiting for, Dy, the
(22:48):
gentleman is quite good fortune. Thankyou tonight. The Wolves macis a company
of free arts. Every savil onthe Mississippi. Magnolia Hawks, you know
her and you love her a favoritefrom the to New Orleans and Fireside,
the sensation of the century, theregular River Mister kay Lord Ravenel. That
(23:14):
he and Magnolia should fall in lovewas inevitable, as the cosmic course.
She'd never met a man like Gaylordraven Or Magnolia hadn't. He was the
most handsome man she'd ever seen,in the best dressed, even though his
clothes weren't new. Maybe it's becausehe was so clean and elegant that he
seemed different but it was more thanthat. Really, he had such nice
(23:36):
ways, always polite and gentle,and doing little things that no man she
ever knew would have bothered his headabout. From the first day he came
on board the Cotton Blossom, everybodyadored him, and everybody that is,
except carthy person that think he wasthe only juvenile left in the world.
Matter of fact, I can't seewhere he's such great shakes of an actor,
rolls those eyes and here's a gooddeal, and talks deep voiced,
(24:00):
but got hands fits a woman's andfusses with his fingernails. I'll wager if
you look around New Orleans you'll findsomething queer For all he talks to Hi
about being a ravenel of Louisiana andhis folks governors in the old days,
and inscriptions about him in the churchand what not. Shifty, that's what
he is, mark my words,best juvenal he ever played. The rivers
(24:23):
never heard and haven't clean fingernails hurting. Actually, oh, it isn't just
clean fingernails, it's everything. Ican't bear the sight of him, collaboring
and soft soap in sir, hecan get around a woman my age.
Well, I'm worth a dozen ofhim when it comes to being smart.
I wonder where he is? Now? What do you want with him?
Don't want anything, just to knowwhere he is. That's all. He's
(24:47):
inside, inside where he left himto stay alone with your child. Good,
Heaven's piney. What's the harm thegentlemen listening to a little piet and
playing I like it, and notsit down. I'll do no such thing,
and you won't either. Come alonginside where we and keep an eye
on the tour party. You hearthe hawks? All right? That's pretty
culling your praying there, Magnolia,Yes, isn't it. She'd do better
(25:08):
by it if she did more practicing. I don't get time on what was
rehearsing. Seemed to have time andup for all sorts of foolishness, if
you ask me, Papa, Yes, Maggie, No, mister Ravenel was
just telling me about being all theway to Paris? Are that your Ravenel?
Yes, Kevin, Paris as allsticks. I never even been in
(25:29):
Chicago. It's not so much,but it has got some nice things about
it. I wish New York there'sa real time, Yes, sirree bye.
It was a girl I'd soon enoughtire of this sort of popping jay
toomy. You can listen to musicparty that seem you manage to get around
the lock for a young man,mister Ravenel, I have most folks would
(25:52):
say it didn't look nice up here, mate, soon takes the pile of
money, don't it will? Whoa? However'd you come by so much?
Not by your acting, I'll layI was telling Andy just now, I
don't see that you're any great shapes. There's an actress sea here. My
body can take an interest in ayoung man can't see hawks. I just
say that most folks would have itthat no young man could come by so
(26:15):
much money on it. Momma,eh, I think I go a bit,
and about time to come in hawksa minute, night, mister,
good night, Miss Magnillion, Comealong, Maggie, come along. They
floated down the river, hundreds ofmiles of willow fringed streams, flowing blue
(26:38):
in the sunlight, olive green inthe shade, wild honeysuckle clamoring over black
tree trunks. There unpainted cabins thecolor of the sandy soil. Sometimes the
river was a great broad stream rollingdown to the sea, and sometimes it
was a shallow, narrow stream,a little more than a creek, through
which the cotton blossom went slowly away, cautiously, from town to town.
(27:03):
It seemed no time at all beforethey played all the Bayous on their way
up the river again and back atthe docks in New Orleans fifty six ty
fast. And if I haven't huh, it's almost haven't even changed your clothes
any this money laying around buttons?Can I banks? Let me on the
side door afterwards, so I canthank who haunts? Go? Oh gosh,
(27:26):
all money, Magno, he ain'tgoing to turn out an unreasonable woman
like your MAA. Yes, where'smama? Isn't she ready? Yeah?
She's ready all right, dressed upfit to kill. I don't know where
she went though. So a whileback, hustling the show, I had
a long talk of the sheriff andit flew off. The town can't go
without its am. I just wantsit down, relaxed, you know,
for six seventy eight. And he'slike, oh, how beautiful you are.
(27:49):
You're looking very beautiful yourself, misssay a Ramna. Oh yes,
Jean, there's money, handsome lotand suit of clothes you got there and
thinking leave me, well, no, give me a turn, No cause
for that, Captain. First timeyou saw me, I was in temporary
difficulty sort of thing that can happento any gentleman. Now, as you
(28:11):
can see, things are better,yes, siree, I certainly can.
And any what Ravenel you you stickwith me and I'll raise it to twenty
twenty five thanks, fun thirty aweek, huh, they ain't a juvenile
on the river has ever gone anywherenear that. Let's not talk money now,
(28:33):
captain, unless unless you'd like toadvance me fifty for a week.
Pressure, pressure, Ravenel, presentlyhere, I said, thirty forty twenty
five and fifty thanks. What Ireally came in forward was to ask if
you and missus Hawks and this magnoliahere would take dinner with me tonight as
a restaurant dynamic. Now, Maggie, you know your he's gone off.
Nobody knows where to mister Ranald,We're going to take a drive out of
(28:56):
the lakeman have dinner. Surely hadn'teven change his clothes. Almost four o'clock.
Rob is for now, Maggie,just don't care anything about It's always
old boat in business and money.We're going just giving another thirty six be
too late to drive. And that'swhy I like this. If you trust
me, Captain, I know whereI can get a fine turnout es nuts
the highest stepper is. But see, sir, if we start right now,
if I can cat I Maggie,if your mind ever comes here,
(29:18):
you're not here, is she?Heck? I don't see how can thirty
much? Well, we meet youat Chicks for dinner and ante, sir,
an come on nor yes, MsMagnolia, I'm coming good afternoons the
afternoon five seven fifteen fifty twenty fivefifty and h seventy H seventy two h
(29:41):
seventy Oh what is it? Hawks? But with me own eyes, I
tell you I thought, what's wrongwith your woman? Gone? King crazy?
He's a gambler and the murderer.A gambler and the murderer. He
is for two sandside murder. Youcome howling here man's trying to run his
business. Listen to me, afool. I'd been to the chief of
(30:02):
police and the perfect gunleman, ifever there was one, and he's killed
a man chee police kill the man? What man? Ravenel Ravenel's killed a
man, good heaven, twin yearago, right in this very town.
Oh well, I didn't hang him? Did they hang ho Ravenel? Why
No, said he shocked himself tofense. Please killed a man? They
let him go? Yes? What'sthat prove? Hey? Proves you're right
(30:25):
too, don't it? All right? What of it? What of it?
This very minute? Your own daughter'sout with a murderer? What missus
Hawk's man? When I was nineteen, I killed a man, And for
twenty five years and more I've beenas respected it? Hey, party?
What? Oh? Dad? Mixto me? Shoverty, fish and water.
Party expeted? You are listening tothe Campbell Playhouse presentation of show Boat,
(31:07):
starring Margaret Sullivan and Austin Wells,with Helen Morgan and authoress Edna Ferber.
This is the Columbia Broadcasting System Agnolia. This is Ernest Chapple, Ladies
(31:34):
and gentlemen, welcoming you back tothe Campbell Playhouse. In a moment or
two, we will resume our presentationof Edna Ferber's show Boats. This is
the story of a glorious institution nowall but vanished from our American scene.
The great days of the showboat arepassed gone, with the customs and manners
of a more leisurely aided. Howtimes have changed since those days. Dining
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then was an event, a mealof many courses. It started with a
great gleaming tureen of savory hot soup, and went on to the meat course,
with many side dishes and finally somesubstantial desserts. We in our day
have modified our view of eating,a new knowledge of what is good for
us as tempered our eating habits,soup has held its own. Indeed,
today soup is not only enjoyed asan opening course, but also as the
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main dish of many lighter meals.Knowing this, women welcome the fact that
good soups are readily available in redand white labeled cans marked Cambells Delicious soups
they are too, Chicken gumbo,hearty vegetable soup, bean with bacon,
soup, chicken noodle. These andmany more Cambells make in the time honored
home made way. How many ofyou tried in your home? Now we
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resume our Cambell play Ours presentation ofshow Boats starring Arsenwells and Margaret Sullivan,
with Helen Morgan and authoress Edna ferbermagno Is, you may remember, never
remembered very clearly what happened that afternoon. Gay Lord raven Or drove her far
out into the country to a littlechurch with a graveyard. And they got
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out of the carriage and walked aroundunder the trees, and there were graves
there with the names of raven Oron them. That's what he said,
his father and grandfather, and wayback beyond there, he said. And
she didn't remember much about the rideback to town at dinner or anything after
a showtime, except gaze smiling ather, and her smiling back at him.
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Foks, that murderer gold ride old. That's fine, all party.
You can tell him tonight. He'sthe best juvenile he'd ever played the rivers.
Now, that seemed beginner, willingto sacrifice your own daughter? Are
you for the sake of a fewdollars? Sacrifice just letting her speak civil
to us? Handsome young fellow there, watch now, just see him out
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there looking at it's it timeful Ifyou didn't you mean to tell me you
see your own daughter married woman.Can't a man look at the girl out
of him to marry her? Happento marry her. If I was a
girl like Maggie, I'd run offwith him. That's the truth. She
had any spirit left after you devilinghe for eighteen years. She do it,
that's right, put IDs in herfriend. How do you know who
he is? He says he is. Did he show her the church?
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Oh? Hawks here, I couldshow your gravestones. I could say my
name was Bonyparts and show your Napoleon'stomb. But that wouldn't make him my
grandfather, would it? He?Folks hooks cool? It's allowed people out
for care. Hear the shoe party. Hush up and listen to the show.
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What have all your friends dissested you? Ma'm is gonna make and to
send you away? No, butfriendship is too cold a passion to sir,
my heart? Now? Will youcome with me? Oh? Give
me a friend in preference to asweetheart. How can I my dear miss
Brown, miss Lucy may, ohplease don't call me miss Brown? Quince
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Lucy? Where do we go tomorrow? Not be there? The thunder of
the fathers that I'm so frightened?Will you be a poor man's bride?
Dune? Oh, luc in myown I know you. For Heaven's sake,
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take your time. The minister willwait. Okay, where did you
think you were going? Yeah,you will fire. I don't know.
I just I spring mamma, lightout after me. Did you see he
lived the boat? I think so. Okay, I've got my breath.
Come on, let's go in andget married. Hold on a minute,
we've got to be engaged. Firstengaged, of course, give me a
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hand the other one, silly,we've been married, and cage anything.
I'm so excited. Okay, okay, your diamond you like it? Oh,
it's so beautiful. I've never seenone before. Just look at the
senders to it. It's nothing todo with the senders to you. Crazy,
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don't I get a kiss? You? Meaning broad daylight right here in
the minister's front yard. One.Well, of course we are getting married.
Well, hawks now, I hopeyou are satisfied. Those were the
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first words she said when she heardthey were married, Just the first word.
She didn't stop talking for ten wholedays, and she finally did let
up a little because it's well,because she she was tired. She just
worn herself out. And when thebaby came, they called her Kim It
was the captain's idea because she wasborn on the river while the Cotton Blossom
was riding a store near the borderlines of Kentucky, Illinois, Missouri,
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k i Am. And then whenKim was two, the captain bought a
new boat, had a built inSaint Louis with some new fan arrangement instead
of the kerosene lamps for footlights,and she was called Cotton Blossom too.
It was April before she was ready, late in the year to start down
river, but the captain didn't care. He wanted to try the new boat.
No. Sooner they started and therains began. They got as far
(37:14):
as matches and turned started upstream again. Then early one morning before dawn,
only a few miles out of Cairo, a squaw caught them. A course
of Magnonia's life had been changed.Hey, get up like we lost on
(37:37):
morn. I think we lost him, moron. You better get some clothes
on gate, come on off,yes, sir, No, yeah,
you better get warm. I'll his that you i'd ordered? Quiet?
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Mama came to sleep, I'll doMaggie whinny? Is everything all right?
So quiet? Suddenly? Yeah,soon as daylight came the squarell quieted right
down. Who's everything? All right? Got off the snag If that's what
you mean, there's something wrong?What is it? Where's Papa? Well?
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He was bobbing around the deck,and of course he had no business
given orders. That was my jobas a pilot. But he always did
that, ma'am. I never mindedit. What's happened to Papa? Where
he had to be? The Pasteschannel on the river too, he was
leaning over trying to snatcher. Hewas dark and the rain and all whinny
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what happened? He was gone beforewe could get to him, Maggie.
And with the rain and the darkand the current, we did all we
could. It's no use, notin this part of the river. His
dead, Maggie, He's dead.Oh. With Andy Gonn, things were
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different, might have worked out fora while if Farthenia Hawks hadn't been what
she was. The first to gowas the pilot, Old Wendy McClean,
about a month after Andy died.Till now, what do you mean?
Yes, I'm speaking to you,Wendy McClean. If I've had those steps
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to the pilot house rubbed what fivehams rubbed ten times this week. Well,
what's the matter with him? What'sthe look them all muddied up?
What's that side ladder for her?I'd like to know. I've told her
before this shorks mem I'm no hired, hend. I worked with Andrey Hawks
twenty five years. I pay,you, don't I and good pay?
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It is? So where the thingis you can't run a boat like you
were a kitchen. Well, I'mnot going to have it. You traced
in all of what's picking your filthytobacco leaving money tracks, ma'am. Well,
you're a Hawk's witter. No needto remind me. That's why I
said I'd go on working the sameas if Andrew was alive. If you'd
no mind to stay on, therewas nobody meganych. I figured Megan's husband
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be the boss. After Well,I'm running this boat. Fact is,
ma'am, I ain't no petticoat pirates. Fact is, I guess I lost
my taste for rivers since cap went. Lost my nerve too. I guess
I'm through. Hm. Your moneywill be at the office for you six.
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Ma'am. I can't stand this.I'm sick of the scar and everything
that goes with it. I'm nodarling just giving a hall crazy anyway,
Magnolia, I'm no actor. Idon't belong here. If I hadn't happened
to see you the day your fatheroffered me a job back, I wouldn't
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be here now, are you sorry? Gay Garny. It's the only luck
I've ever had that lasted, Magnolia. What we ought to do is to
clear out of here. You've gotsomething coming to you from your father.
We could very easy you to gabin so hard and fast about mamma.
Listens, yeah, we were justwondering now that Papa's yeah, well,
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oh maybe it wasn't crazy trying togo on. What do you want?
Haven't leave the river whind o,Mama? And what's to become the Captain
Blossom? I don't know. We'llhave to talk about it. We are
talking about it now. Listen here, Magnolia. Fox left no will just
like him. I've got as muchsay as you, mammas. Is my
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share in this boat? I wantit? You mean money? Yes?
What would you have me do?Sell the boat right out from under me?
Captain Andy left insurance and he hadmoney in the bank. It's enough
for you. To buy Magnolia sharein the show boot if you want it.
What will you do with the money? Oh? Gay will probably invest
in some business, Yes, monkeybusiness. I'm leaving here. I've had
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enough. What about Magnolia and herchild? They can come or stay.
That's for Hord to decide. I'llbe taking Magnolia. No, Gay,
Well, now you see walking rightoff and leaving you. Come back here,
child. I'll give you the money, but mind, don't you come
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sniveling back to me when it's gone, and you and your child having a
penny to bless yourself with. Butthat's what it'll come to in the end.
My work wouldn't come to you forhelp, not if I was starving
today, and Kimcho, there's worsethings than starving today. I wouldn't come
to you, no matter what youwill just the same. I'll take my
oath on that, and remember this. When he's run through every penny of
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your money, you needn't look tome for more. You can come back
to the boat, you and thechild. I'll look for you. But
him never nothing was too good,gay Lord Ravenal. That first winter they
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lived in Chicago, they had asuite at the Sherman House. A nurse
made for Kim a pair of Englishhackneys to drive them to the races in
the afternoon and for the theater inthe evening. When that went of.
The first time Magnolia tasted Champagne,wore sables, sat in a box at
whole Is, and saw the Houcicouci dance. The World's Fair was all
very pleasant and luxurious and strange,almost like a green And through it all
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Gay was beside her, handsome andelegant and thoughtful, laughing at her wide
eyed enjoyment. And then one daysuddenly their money was gone, simply gone.
I'm sorry, react, I haven'tgot it, say darling, how
do you mean you haven't got ahundred dollars? You're into that green gelve
dress you like so much. Youtold me to get it. Now this
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is third time they sent a billto we'd to give me the money.
I'll write a check if you'd rather. I tell you I haven't got it,
Magnolia. Well, tomorrow will do, but please be sure tomorrow that
you. I can't be any sureof tomorrow than I am today. We
haven't got one hundred dollars in theworld, and that's a fact. But
darling, we had thirty thouars.I know afraid it's gone. I've been
(44:28):
running bad luck for weeks, badluck. But what gay Pharaoh day?
We had thirty thousand dollars. Thus, don't last forever, my dear.
Besides, last week I took aflyer, the flyer, yes, sir,
a tip on the market, thestock market, the stocks. Oh,
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you wouldn't understand magnolia. But allof it gay? You didn't lose
all of it on the market.Well, no, some of it on
the market, some of it atPharaoh? How much? Gay? How
much? So what does it matter? It's gone? But gay? How
much at Pharaoh? Few? Thousand? How many? Five? Yes,
(45:13):
five more than five? Gay?Well years ten? Probably, I don't
remember magnolia. What does it matter? How it's gone? It's gone.
Once a month came a letter fromPerthy, no more or less. It
came addressed in a firm small handto the Sherman house. Crops are pretty
(45:36):
good, So business is according Iput up great jail last week, a
terrible job. But I can't buythis door stuff, no real rapes in
it. Well, I spose you'retoo stylish for the cotton blossom by now,
and Kim never hears of it.I got the pictures, you sense.
I think she looks kind of pickedup. Four hours a night,
I suppose, and no proper food. Never heard of such a thing.
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Well, I will close, asGoodness knows. I have enough to do
without writing letters where they are probablynot wanted. The still, I like
to know how you and the childare doing, and all your mother Parthenia,
Anne Hawks dear mother. Gay ismore than good to me. I
have only to wish for a thing, and it is mine, everyone says.
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Kim is unusually tall and great forher age. Jay speaks of a
trip to Europe next year. Ihave a new fur coat. He's very
good to me. Never an unkindword. You're very very happy, Love
Magnolia. Magnola and Ravenor moved firstof those endless changes that mark their life
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in Chicago for the next twelve years. They left the prush and ice water
and fresh linen and rich food andluxurious service of the Sherman House. They
moved to a shabby family hotel sortof actors boarding house, north Side,
just across the Clark Street Bridge inOntario. It was within walking distance of
the places Gay said, and byplaces she knew that he meant Jeff Hankins
(47:10):
and Mike McDonald's and Prince Varnell's andother establishments on Gambler's Row where he spent
his days every day for twelve years, and always it was famine or plenty,
no middle ground. Sometimes a badstreet would last for weeks. First
the Malacca cane would go. Gayhad a reputation for paying his debts,
and Raveno's kine was always worth afew hundred dollars as a pledge at one
(47:34):
of the pawn shops near Clark Street. And then next some of the fine
English clothes would vanish, and last, always last a diamond engagement ring.
There were times when even the OntarioStreet Hotel became an impossible luxury that meant
rock bottom. Then it was thatthey took her room at three dollars a
week in a frowsy rooming house onOhio Street, the three of them in
one room, and boiled coffee andeggs and cooking over the gas jet.
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And every time day around noon gayLord went down to the street. Elegance
is ever freshly shaved, his gloveson his hands and headed south towards Krako.
Was night when he returned, sometimeslong after midnight. Magnolia, the
Magnolia. Come on, Magnola,we're leaving this rightch ness, hurry,
we're telling that now. You don'tmean to night. Now you'll only take
(48:20):
a minute. I'll wake up theland then and she'll help. Oh no,
no, I'd rather do it myself. Oh there, Kim's asleep.
Cat. We wait until morning.No, we're going tonight this minute.
Come on, hurry. And hewas killing Magnolia six thousand and here,
here's your ink. Where we're goingSherman House? Or would you like to
try the auttorium for a change roomoverlooking the laker? How would you like
that? Yeah? Next week we'llrun down to West Beaten. Do us
(48:42):
good. During the day we canwalk and drive or ride. You'll learn
to ride Magnolia. In the eveningwe can take a whirl at my Samedi's
place. Oh, darling, don'tplay there, not much. I'm meaning,
let's try to keep what we have. What nonsense. May as well
give Sam a chance to pay ourexpenses. Remember the last we were down,
I won a thousand dollars at roomlet alone. And that's not my
(49:04):
game. Day, Yes, no, day, I want to talk to
What does it have to be now? Yes? Day? Listen? Do
we have to go on like this? Darling? Haven't you been listening?
I mean the money we're moving outof yet? What more do you want?
Day? That's just it? Everythingone day and nothing the next.
We ought to be living in ahouse, a little house where it's quiet
and peaceful and Kim can play likeother children. Now, don't get dramatic
(49:28):
magnolia, by Heaven's besides, we'vehad that all off before. But why
can't we do it? Why can'twe live like other people? In between?
Enough? Anne, of this horribleworrying about tomorrow. I can't bear.
You should have married a plumber.Come on, ignore you get your
things bag letsco I've got a carriagewaiting downstairs. Then came a bad streak
that lasted longer than the others.The cane was gone in the English suits
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Magnolia's diamond ring. They've been inthe rooming house in Ohio Street now for
three months. Gay you early emI stopped into the Sherman house. The
letter was there for you, Ohfor Mama. Yeah, Gay Mormon's coming
(50:13):
coming here. Yes, listen,I've never been to Chicago. I want
to see the stockyards at Grand AperaHouse, the Masonic Temple, Marshall Fields,
Lincoln Park, and the Chicago verI'll put up at the Sherman House
where you are providing it's not tooexpensive. And I want you both to
understand. I mean to pay myown way. I'll not be holding to
any living soul. Well, we'llhave to move back. Gave to the
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Sherman House. That's where she thinkswe live. Now that's out nor but
Gay, we haven't any churice andI haven't any money. And you've got
to borrow on what security. Idon't need business borrowing where your friends?
All those men, what man theminute? Those places, the men you've
known for so many years, thosescamblers, we've all been kind of borrowed
from me. But Mike McDonald,Hankins, Vonnell, we've all had thousands
of dollars from us, all themoney we brought to Chicago. Want to
(50:58):
give some of it back? Rightnow? You're you're prize me. There's
nobody like you. See how doyou act like that? And you know
how dear is today? I'm notgoing to have Mamma come here and see
us living like this. I'm notgoing to do it. Do you think
for a minute I would? When? What are you going to do about
it? I don't know. Idon't know, darling, but I'll do
something. I've been in holes asnep as this and managed to call out,
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I'll do something. That was thelast time she heard his voice.
Next morning, when she left thehouse, he was still sleeping. It
was the day she went to schoolto see Kim. It was winter and
it was dark in the streets.By the time she got home. The
door of her room was locked,and when she opened it before she'd lighted
to guess, she felt the roomwas empty, Deserted. On the dresser
(51:45):
was an envelope. Her name onit in Rabbino was knee delicate to Heaven.
I know you're darling. I'm goingaway fucky week I was turning.
Your mother was gone. I sannyboy, you'll find three hundred dollars.
All you want a shelf. Oneof the clock should be enough for a
few weeks. Anyway, I lovealways. Okay, do you see Kim.
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It's a long story old him all. No, I don't say that
Kim, I'm not sorry. I'mnot sorry if anything I ever did in
my whole life been a lot ofplaces. I've seen a lot of things.
Then the end that is where Ibelonged. I love it, the
rivers, the people, the showboats, and the life here. I don't
(52:45):
know why it's bred in me.I suppose it's Kim. I do know
why your grandfather died when you weretoo little to really know him. Knew
him well, Kim, you'd knowwhy. This concludes the Campbell Playhouse presentation
(53:20):
of Edna Ferber's Showboat, starring MargaretSullivan, Austin Wells, Helen Morgan,
and the authoress herself. Miss Ferberhas something special to say to us tonight,
and in just a moment, AustinWells will bring her back to the
microphone. In the meantime, hereis Ernest Chapple. When you taste Campbell's
vegetable Soup, I'm sure your verdictwill be the same as that of millions
(53:43):
of others who agree it is sogood that it's a waste of time and
energy to go to all the troubleof making vegetable soup at home. You
can prove it by serving this greatfamily favorite tomorrow, and if there are
children at the table, I knowthey'll show you by their busy spoons what
a big hit it makes with them. And while they're enjoying it, they'll
be getting the nourishing benefits of fifteenfine garden vegetables. If you have thought
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there never could be another vegetable soupas good as the homemade kind, then
this is important. Campbell's vegetable soupis made the good home way, from
the simmering of its invigorating beef stockto the careful blending and cooking of its
vegetables. It's so good and sosubstantial that it's almost the meal in itself,
the kind of vegetable soup you'd expectfrom the finest home soup kettle.
(54:31):
Why not try it tomorrow? Rememberto ask your grocer for Campbell's Vegetable Soup.
And now Orson Welles brings you hisguests of this evening. Ladies and
gentlemen, I think you know everybodyhere. Margaret Sullivan, who is Magnolia,
whom you've seen so many times inmovie houses and in theaters, giving
so many fine performances, is ourguest on the Campbell play House for the
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fifth time. In fact, thelast thing she did before she was Bridget
Heywood Heyward's mother, which she is, was the if you remember the nameless
heroine of our radio version of Rebecca, Miss Sullivan. It's very nice to
have you back. It's nice tobe back, mister Wells. It always
is. I know you know,Miss Morgan, and I know you love
(55:13):
her just as much as I do. Ladies and gentlemen, Helen Morgan,
mister Wells, thank you for anotherchance to play Julie. I suppose I
know shobrote about as well as heanybody. May I tell you it has
never seemed more real to me thantonight. Morgan. You're very kind.
(55:34):
And now, ladies and gentlemen,because miss Edna Ferber made her debut tonight
as an actress, and as youwill agree, a very good actress at
that, in the role of ParthyHawks, and because she wrote show Bolt
and should have something interesting to tellus about it. I've vanished or banter
and bandinage from our customary after peaceand asked to take the floor and say
what she will, Saiedna Ferber todayin nineteen thirty nine, I know could
(56:00):
have written Showboat, I am tooagonized at what I see and hear in
the world about me. Showboat carriesno message. It is just a romantic
novel about a rather glamorous phase ofAmerican life. Since it was written in
nineteen twenty six and this is nineteenthirty nine, there must be in it
(56:22):
equality that strikes a sympathetic chord.It never could have been written in a
war torn world. A writer shouldfeel free to write as he pleases,
and in these times he's deprived ofthat feeling. Those millions of you here
in America who have chuckled over HuckleberryFinn and Tom Sawyer. Those of you
(56:46):
who have thrilled that majestic piece ofprose, the Gettysburg addrests who have read
and heeded the wise sayings of BenjaminFranklin, whose pulses have quickened to the
beat and march of Aught Whitman's poems. If you love these things and believe
in their beauty and worth, savethem for long, long after the rulers
(57:12):
of people are dead. The literatureof a country lives on you, who
are listening to the Orson Wells programto night, make up your minds.
What kind of world you want foryour children, won't Whitman told you?
Listen to what he said long toolong, America, Traveling roads all even
(57:39):
and peaceful. You learn from joysand prosperity only, But now, ah,
now to learn from crises of anguish, advancing, grappling with direst faith
and recoiling. Not now to conceiveand show to the world what your children
(58:00):
Almas really are. Traveling roads alleven and people. You learn from joys
and prosperity only, But now,ah, now to learn from crises of
anguish, advancing, grappling with direstfaith and recoiling. Not now to conceive
(58:24):
and show to the world what yourchildren Almas really are. Thank you,
Miss Pleas, and thanks to youMiss Sullivan and Miss Morgan. Please come
back to us again on the Campbellplay House whenever you will.
The makers of Campbell Soups present theCampbell Playhouse, Arson Wells Producers. Good
(00:50):
evening. This is Dawson Wells.Sixteen weeks ago tonight, I joined the
Campbell Playhouse and if you remember,we dramatized Rebecca Well, I'm pretty sure
if you remember Rebecca, you'll neverforget Margaret Sullivan. And I know you're
glad that Margaret Sullivan is sack withus again with us this evening to play
Magnolia in Showboat. Now. I'vetried to make our radio version of Showboat
(01:11):
as true to its original as possible. But don't worry. The Campbell Playoffs
wouldn't dream of being so different asto do Showboat without Helen Morgan. Helen
Morgan is Julie, Wonderful, wonderfulHelen Morgan with an old song which is
new to her and new to Showboat, maybe even new to you. And
then there's William Johnstone who's playing gayLord ravenol Ray Collins is playing Wendy,
(01:34):
and I'm playing Captain Andy Hawks.Finally, Edna Ferber, herself, Edna
Ferber, who wrote Showboat, comesto our microphone and begins tonight her career
as an actress begins it in theservice of one of her finest stories and
in the character of one of hermost famous creations, Parthy Hawks. Ladies
and gentlemen, the big show willstart in just one minute. Come one,
(01:56):
come all, it's the rage ofthe river. To quote Captain Andy,
it's the same sensation of the centuryin one minute, ladies and gentlemen,
show booked. Just before we start, a word from nis Chapel.
Up to a comparatively short time ago, vegetable soup, more than any other,
had been associated with the traditional homesoup kettle. For years, many
(02:20):
housewives followed the old time custom ofmaking this soup in their own kitchens,
until one by one they discovered Cambell's. They found that Campbell's vegetable soup had
the same good flavor, the samenourishing quality they themselves had always driven to
get. Now, if it happensthat you are one of those who haven't
made this discovery, and if youstill think good vegetable soup can only be
(02:42):
made at home, may I suggestthat you try Campbell's vegetable soup. I'm
sure it's convenience will appeal to youimmediately. It's ready to serve in almost
no time at all. But whatis even more important is this. You
will find in Campbell's vegetable soup thesame good, home made character and the
same homey flavor that you'd look forin the finest kettle of soup you ever
(03:04):
made in your own kitchen. Campbell'shave kept faith with time honored home traditions
in making this soup. You cantell that in the taste of your first
few spoonfuls. Expert home cooks sippingthis soup critically not their approval. So
won't you give Campbell's vegetable soup atrial? Make a note of it in
planning Tomorrow's meals? And now MargaretSullivan and Arson Wells with Helen Morgan and
(03:27):
authoress Edna Ferber in show Boat.If you were an obituary of old South
Clark Street in Chicago's gay Nighties,you may remember it still Nola Ravenel,
soup brettes and that amazing slow smilethat still talked about among the older writers
(03:49):
on the dramatic pages, some ofthe same men who today print four column
pictures of a daughter Kim Kim Ravenelon the front pages of Sunday sections to
Magnoli had all seen like a vaguedream. Now, those long years in
Chicago with Ravenol, months of heartbreakand failure after he'd gone away, the
years of success playing Chicago, playingthe Circuits, playing the East, and
(04:12):
then at sixty retired, living withKim in New York, watching Kim's success,
knowing all the right people, goingto the right places, a strange
dream world in which he'd been livingall these years, and now suddenly back
reality. And that piece of yellowpaper delivered to Kim's dressing room the night
before, crumpled now from being heldin her hand all day as the train
(04:34):
carried her south back towards the river, back home Parthenia. Anne Hawks died
suddenly eight o'clock before evening show CottonBlossom playing Cold Spring, Tennessee Sympathy Company.
George, Doc Bernato, You've justgone another that soul, staying on
(04:59):
this miserable boat all these weeks andmaking me come all the way down here
to get you. We're going backto New York on the night trailing on
the tenth we say off for London. No you do, Kim, I
don't. I'm staying here. You'rehot I'm staying here, Kim, with
the show boat. You can't meanit, mother, flopping up and down
those wretched rivers, and this heatand the flies and the mud. You
could be with me in London,around the island, or even nothing.
(05:24):
It's cool there, Kim, Yes, mother, Kim, listen to me.
I've made up my mind. I'mstaying here. Mother. I don't
understand, of course you don't.How could you listen, Kim? Listen
to that. They can hear thecaliga playing for miles around, up and
down the river, the little violandwill be twilight, that's the most exciting
(05:47):
hour of the day. And beginto light the lamps inside the auditorium and
the search lights along the bluff,and people start coming in down to the
landing, along the river banks,down the road, the farmer, the
wise river folk, hangers on,and by seven they'll all be here.
There won't be an Emphythe crops hasbeen good around Oliver this here, even
(06:08):
the boxes will be filled, andthen presently the show will start. It
hasn't changed, Kim, It hasn'tchanged. The tolls been years since Nola
Ravenol was Magnolia hawks, the rageof the river, the sensation of the
(06:30):
century, the queen of the cottonblossom. The cotton blossom, that's what
Captain Andy's showboat is called. Greentrimmings and gold letters foot high. Captain
Andy Hawks cotton Blossom floating Palace theater. I were right in the company,
not counting the crew. Andy Hawkshimself, Captain and Ona, with thirty
five years experience on keelboats, steamboats, packets and showboats. A little nervous,
(06:55):
wiry man with a horrible habit ofclawing and scratching in his whiskers hung
like brushes just below his white cammancap. There was his wife, Fathinia
and Hawk's, a bulky, frigidfemale with a long, hoarse face and
a New England passion for discipline.There was Julie Doser with her rich,
deep voice. There was Old WindyPilot and George Schultz and the rest of
(07:17):
them. Year after year, thecotton blossom floated down. The rivers started
out in April and got back inSeptember, and year after year they gave
the same place. East Lynne,Lady Audley's Secret Tempest and Sunshine mad Cap
Marjorie Uncle Tom's cabin. Year afteryear they grew more successful, and then
one morning at mobile, cap'n Andymade a shocking discovery. In the night,
(07:41):
his azure new lead had packed hertrunks and left left with a black
mustached gambler who had followed her downthe river from Paducah, Kentucky. And
that afternoon the Capt'n's cabin, agreat battle was fought of the fate of
the girl with a pale face anda large mouth from America. Years later
was to applaud under the name ofMagnolia Ravenant. At this time she was
(08:01):
just sixteen, and her name wasMaggie Hawks, my own daughter, an
actress over my dead body Hawks.And she now reads ain't hanging around on
trees, No, sir, takeus a week to get won't you car
another week for her to learn herparts, and then maybe she won't be
no gang good. Maggie could goin there tonight, she'd be great.
(08:22):
I won't hear of it now,partty are just working yourself. Ford ought
to be proud of stepping in savingus money. We got close up.
If she don't rather have her inher grew she knows all the parts.
Why I ever allowed her to stepfoot on this filthy skull with a lot
of riff raps that I wouldn't touchwith a ten foot part. I wasn't
here party in your hawks. Wegot the biggest advance here we had this
season. Yes, sir, docsdown, says raked, and with both
(08:43):
hands, if you had the leastbit of gumfing instead of sitting there whining
and carrying on, you wet theadvanced well three hundred, not anywhere near
four o'clock. Oh well, haveit your own way. Then it's no
use arguing with you. But rememberit's against my wishes and over my dead
body, and if any harm,it's all know where the blame ways.
Magnolia, Magnolia. Why ain't youon the sage rehearses? Now you think
(09:07):
you'll be able to go on tonightof here? Don't so? No rehearses
Magnonia. The Mysterious Comedy Tragedians,Here to Believer, the Rage of the
River, the Sensation of the Sensories, and s Here the night Folks in
the Parson's Fright set fourth in unrivaledscenery and costumes, Fireside, mister Georgell's
(09:33):
favorite from Delos to New Orleans forten years, leading player with mister Booth,
mister and missus means and a score, while the luminaries after the show
that the content with singing and dancingin the cart fifteen said extra, but
it's worth it. It's worth it, ladies and gentleman, I can tell
you to him. Miss Julie Dosherfresh from Triumphs East in the latest numbers
from a repertore. Bring the children, come one, come all a cotton
(09:56):
russ and kay, it's just onemen, What have all your friends who
jested you? No, but friendshipis too cold. A passion to come
my heart now, Oh, giveme a friend and cousin to a sweet
(10:20):
heart, My dear Miss Drowse,Miss Lucy, please don't call me miss
Krause, Lucy defender of the father. Will you be a poor man's flies?
Oh yes, yes, Lucy,my own albums? Oh for them
(10:48):
at pay their fifteen cents. Yougot a first rate concert. First on
the programmacing gentlemen, the word theonly, the inimitable julidojor we'll render her
latest triumph from the East. Tom'sstop the show New York's produc During the
people Boli Bah the song that They'reStill Crying at in Boston. Why No
One to Love? Composed and writtenby mister Stephen Foster. Ladies and gents,
(11:09):
missus huidoter No one to Love?In this fallver for of one one
(11:37):
and glady eyes waver is the womnot lovely confined, but he's lovely.
They need the blues colors. NoOne long, no to Loe? Why
(12:11):
no One to Love? What haveyou done? You? Miss you?
That you are? Sigh? Noone love? Strange woman, usual with
(12:46):
a white face and the deep set, dark dead eyes. In the four
years she was on the Cotton Blossom, Magnolia got to like her better than
anybody else in the world except Captainand Andy. Maybe in a way she
had a lot to do with whathappened to Magnolia in later Yearsly, who
(13:07):
is it, oh Magnolia? Howcan I come in? I couldn't go
to your mother so excited singing.Come in and shut the door. Julie,
listen, I'm gonna tell you something, and I want to ask you,
do you think I can ever bean actress? A real actress?
I mean, who was sure?Honey? You were wonderful tonight A little
(13:31):
scared maybe, but oh gee,that loved you. Mamma doesn't want me
to be an actress, not really. Besides, I'm not pretty, Mamma
says, I'm not. Oh,when you smile, you are. You've
got the loveliest smile I ever saw. How about Julie, Listen to me,
Magnolia. I'm gonna tell you something. Only it's a secret. It's
(13:54):
what when you grow up, don'tsmile to Wolson. That's whenever you want
anything very much unlike anyone, orwant thing to like you, smile.
I guess maybe you'll learn that withoutme telling you. Well, good night,
honey, Julie. I don't wantto go yet. They'll be wondering
(14:18):
where you are, and then partywill be after good night, good night,
Julie. Year later, Julie wasgone. She left in a way
that Magnolia never forgotten. One morningthey put in a TWI mor in Mississippi.
It was late April. The cottonblossom was only a few weeks out
(14:39):
of Saint Louis. On her waydown the river. Hey, Julie,
Julie, Julie, Yes, Papame, Julie, can we come in?
Julie. Jimmy talking here and I'mshaded down, said Julie. I
guess you've got an admirer in thistown. What do you mean? Somebody's
still your picture framing all right upout in the layout lobby? Put up
(15:03):
now there, Now that's going.Surely that's the matter. Are you sick,
Julie? Ah, ain't our Julie, And I ain't that a shamed
you. You can play all righttonight, though, can't you? No,
I can't play tonight. Don't askme. Well, if you're sick,
so old a better see a doctor. I'll be all right after a
(15:24):
while. Fox in the walk.Oh here I am partty down here in
Julie's room. Come on, you'redoing down there sitting around the gabbin.
I'll wager with the best advanced say, oh we've had since we started out
here. It is eleven o'clock andhalf the house gone already. I never
prayed this town before. A licenseal is too high. It's time for
some play acting. What's the matterwith her? Well, she's sick,
(15:46):
Well, as long as you're allright, mist night, Julie, say
she won't be won't be? Whyshe ain't sick? Is she? I
mean sick? Yes? She is? Mama. Well what you're doing sitting
here for mage, Go fetch yourdoctor. I don't want a doctor.
Persons too sick to play. They'resick enough to have it up there playing
Xenia tomorrow. Good as stands wegot probably won't be able to open there
(16:07):
either. If you're sick as allup, well, he'll be able to
slay tomorrow. How do you know? I'll be all right as soon as
I get out of this towne?That's funny? For is? Just come
over me, Julie? Yes,you took stick at this very town time
we came down river last year.None so funny about that. Soon she
(16:32):
heard we wasn't opening here because thelicense was too high, she got way
all of a sudden. No,leave me alone, can't you? Well?
I may not know my funny.I think a girl didn't have the
right to feel bad. How fardo you get along? Tend of that
ticket office? We can't show nightwe gotta leave. No sure you won't
be feeling better of a night time? Julie? Oh leave me alone,
can't you? Oh? Sure?Sure? Julie? Now party scatchy.
(16:56):
That's horse Ofwesun. Now what's that? Captain? Seems like there's something up,
honey, mean, sheriff's outside onthis what is it our licensed trades
walking around here? Is anybody don'tknow? What else? Seems like he
wants to have a look at allthe folks are board, and he ain't
no safe to be reasonable. Justthat's him coming down now, all right?
Let him come he's getting Let himcome down. Don't let him?
(17:18):
Who's telling him this year? Boot? When I am? What's wanting with
him? Hawks? His name CaptainAndy Hawks? Funny as in the rivers?
Well, Kip, who are youcheer for? This town? Understand?
You got mixed color in your show? Mixed color? What's that?
What do you mean? I'm hush, Maggie, No such thing, No
such thing on this boat. Thename of the negress is let's see Julie
(17:42):
Doja. Yeah, which one's her? That's me you, Julie Dojo.
I am who's been telling you thisstuff? Shir fella lives here seeing a
picture when you go to buy ticketsto your show, this fella says you
was born here. That's right,your mammy was colored. Well yeah,
(18:08):
well you've done here now, sheriff, cause if you are, you can
get out or have you got somethingmore to say. No, I guess
I'm done. Now I'll be going. Well, then, let me tell
you this, cat Hawks, youbetter not try to give no show with
mixed blood in this town to night. Just thought i'd worn you buy a
(18:32):
cab Hawks. Bye, ma'am,Maggie, you'll come away from here.
You know I want to stay toshoot shooting. No, you're not going
to cry, honey. Well,it's totally like tonly like I was going,
going the way we do windows afterwe close the show, Boots tell
(18:55):
it it won't be coming back againwhen it's split. Oh heaven, and
all business folks are always meeting up? Ain't that so? Capton? Yeah?
I sure think, Maggie. Comeon, Maggie, you got your
practice in march. Mama whose whycan't say you was? Julie? Well,
(19:17):
Julie, what we do? I'mgoing to Captain Andy, don't worry.
I'm going. Well. I'm sorry, Julie. It's too bad.
You're the best actress who haven't hadin us board a little bit of going
when things are all packed. Julie. Yes, I just wanted to fixed
(19:40):
for money, hum hum, fixedall right, I've been saving you treated
me well, Captain yeah, I'dlike to say it, provide it make
no if you don't marry Julie.You know our party is. She don't
mean no harm, but well it'syes, she feels you and Maggie maybe
(20:02):
shouldn't h I see, you know, women folks are funny that way.
Nothing well, I guess them.Ready, yes, goodbye, goodbye,
and and thank you. Captain,you've you've been awful good and Captain tell
Magnolia goodbye for me. Sure willgoodbye Julie. Years later, when Magnolia
(20:33):
was married and living in Chicago,she saw Julie once again. Julia looked
an old woman by then. Shepassed her on the street, and by
the time the carriage had stopped,Julia disappeared. There could be no mistake
about those deep, dark dead eyesset in that white face. After Julie
(20:56):
had gone, life went on asusual on the Cotton Bosom. Three months
went by. They down the river, Memphis, Vicksburg, Natchez, Baton,
Rouge, and then at the endof August they reached New Orleans.
From there, a second disaster overtookthe Cotton Bossom. The leading man left
them. George Shultz came to thebox office where Andy and party were busy
counting up before going ashore. Itlook very pale but determined. He had
(21:17):
a letter in his hand. Igot a go cat, the old go
plaire. Well, what do youmean, shorty? It's from her,
from my wife. She's in thehospital at Little Rocks. Had gambling fellow
left her. She ain't got acent. Oh, I shall see.
I wouldn't do it for herself,no matter what. But it's her,
(21:38):
captain, It's for her, notme. Yeah, sure, see,
I gotta go. I tell youyou can take up somebody here in New
Orleans. There's a dozen better actorsthan me laying around the darts this minute.
Well, I got to talk littlefellow while ago down on the wharf.
I said I was an actor onthe Cotton Blossom. He said he'd
acted too. Maybe he'd like thejob, Yes, I spouse, he
(21:59):
would. What do you think?This is a bumboat? Plenty of wharf
rats in New Orleans would like nothingbetter. Ain't no wharf rat. Missus
hawks there he is down there,yet take a look at him. How
about that stern wheeler there? I'dgo share and talk to him if I
was you hot here and that fellowdown there in the brown shoes with the
eellow cane. Yeah, that's right. If I couldn't go and talk to
him about acting on no show boat, he's a He's a gentleman maybe,
(22:23):
but nobody feels like one with acrack in his shoe. Huh. Yes,
he's got a crack in his shoe. I can see you from here.
I can't say I like the looksto him especially, but we can't
see choosers. Well, Hawks,what you're waiting for, Dy, the
(22:48):
gentleman is quite good fortune. Thankyou tonight. The Wolves macis a company
of free arts. Every savil onthe Mississippi. Magnolia Hawks, you know
her and you love her a favoritefrom the to New Orleans and Fireside,
the sensation of the century, theregular River Mister kay Lord Ravenel. That
(23:14):
he and Magnolia should fall in lovewas inevitable, as the cosmic course.
She'd never met a man like Gaylordraven Or Magnolia hadn't. He was the
most handsome man she'd ever seen,in the best dressed, even though his
clothes weren't new. Maybe it's becausehe was so clean and elegant that he
seemed different but it was more thanthat. Really, he had such nice
(23:36):
ways, always polite and gentle,and doing little things that no man she
ever knew would have bothered his headabout. From the first day he came
on board the Cotton Blossom, everybodyadored him, and everybody that is,
except carthy person that think he wasthe only juvenile left in the world.
Matter of fact, I can't seewhere he's such great shakes of an actor,
rolls those eyes and here's a gooddeal, and talks deep voiced,
(24:00):
but got hands fits a woman's andfusses with his fingernails. I'll wager if
you look around New Orleans you'll findsomething queer For all he talks to Hi
about being a ravenel of Louisiana andhis folks governors in the old days,
and inscriptions about him in the churchand what not. Shifty, that's what
he is, mark my words,best juvenal he ever played. The rivers
(24:23):
never heard and haven't clean fingernails hurting. Actually, oh, it isn't just
clean fingernails, it's everything. Ican't bear the sight of him, collaboring
and soft soap in sir, hecan get around a woman my age.
Well, I'm worth a dozen ofhim when it comes to being smart.
I wonder where he is? Now? What do you want with him?
Don't want anything, just to knowwhere he is. That's all. He's
(24:47):
inside, inside where he left himto stay alone with your child. Good,
Heaven's piney. What's the harm thegentlemen listening to a little piet and
playing I like it, and notsit down. I'll do no such thing,
and you won't either. Come alonginside where we and keep an eye
on the tour party. You hearthe hawks? All right? That's pretty
culling your praying there, Magnolia,Yes, isn't it. She'd do better
(25:08):
by it if she did more practicing. I don't get time on what was
rehearsing. Seemed to have time andup for all sorts of foolishness, if
you ask me, Papa, Yes, Maggie, No, mister Ravenel was
just telling me about being all theway to Paris? Are that your Ravenel?
Yes, Kevin, Paris as allsticks. I never even been in
(25:29):
Chicago. It's not so much,but it has got some nice things about
it. I wish New York there'sa real time, Yes, sirree bye.
It was a girl I'd soon enoughtire of this sort of popping jay
toomy. You can listen to musicparty that seem you manage to get around
the lock for a young man,mister Ravenel, I have most folks would
(25:52):
say it didn't look nice up here, mate, soon takes the pile of
money, don't it will? Whoa? However'd you come by so much?
Not by your acting, I'll layI was telling Andy just now, I
don't see that you're any great shapes. There's an actress sea here. My
body can take an interest in ayoung man can't see hawks. I just
say that most folks would have itthat no young man could come by so
(26:15):
much money on it. Momma,eh, I think I go a bit,
and about time to come in hawksa minute, night, mister,
good night, Miss Magnillion, Comealong, Maggie, come along. They
floated down the river, hundreds ofmiles of willow fringed streams, flowing blue
(26:38):
in the sunlight, olive green inthe shade, wild honeysuckle clamoring over black
tree trunks. There unpainted cabins thecolor of the sandy soil. Sometimes the
river was a great broad stream rollingdown to the sea, and sometimes it
was a shallow, narrow stream,a little more than a creek, through
which the cotton blossom went slowly away, cautiously, from town to town.
(27:03):
It seemed no time at all beforethey played all the Bayous on their way
up the river again and back atthe docks in New Orleans fifty six ty
fast. And if I haven't huh, it's almost haven't even changed your clothes
any this money laying around buttons?Can I banks? Let me on the
side door afterwards, so I canthank who haunts? Go? Oh gosh,
(27:26):
all money, Magno, he ain'tgoing to turn out an unreasonable woman
like your MAA. Yes, where'smama? Isn't she ready? Yeah?
She's ready all right, dressed upfit to kill. I don't know where
she went though. So a whileback, hustling the show, I had
a long talk of the sheriff andit flew off. The town can't go
without its am. I just wantsit down, relaxed, you know,
for six seventy eight. And he'slike, oh, how beautiful you are.
(27:49):
You're looking very beautiful yourself, misssay a Ramna. Oh yes,
Jean, there's money, handsome lotand suit of clothes you got there and
thinking leave me, well, no, give me a turn, No cause
for that, Captain. First timeyou saw me, I was in temporary
difficulty sort of thing that can happento any gentleman. Now, as you
(28:11):
can see, things are better,yes, siree, I certainly can.
And any what Ravenel you you stickwith me and I'll raise it to twenty
twenty five thanks, fun thirty aweek, huh, they ain't a juvenile
on the river has ever gone anywherenear that. Let's not talk money now,
(28:33):
captain, unless unless you'd like toadvance me fifty for a week.
Pressure, pressure, Ravenel, presentlyhere, I said, thirty forty twenty
five and fifty thanks. What Ireally came in forward was to ask if
you and missus Hawks and this magnoliahere would take dinner with me tonight as
a restaurant dynamic. Now, Maggie, you know your he's gone off.
Nobody knows where to mister Ranald,We're going to take a drive out of
(28:56):
the lakeman have dinner. Surely hadn'teven change his clothes. Almost four o'clock.
Rob is for now, Maggie,just don't care anything about It's always
old boat in business and money.We're going just giving another thirty six be
too late to drive. And that'swhy I like this. If you trust
me, Captain, I know whereI can get a fine turnout es nuts
the highest stepper is. But see, sir, if we start right now,
if I can cat I Maggie,if your mind ever comes here,
(29:18):
you're not here, is she?Heck? I don't see how can thirty
much? Well, we meet youat Chicks for dinner and ante, sir,
an come on nor yes, MsMagnolia, I'm coming good afternoons the
afternoon five seven fifteen fifty twenty fivefifty and h seventy H seventy two h
(29:41):
seventy Oh what is it? Hawks? But with me own eyes, I
tell you I thought, what's wrongwith your woman? Gone? King crazy?
He's a gambler and the murderer.A gambler and the murderer. He
is for two sandside murder. Youcome howling here man's trying to run his
business. Listen to me, afool. I'd been to the chief of
(30:02):
police and the perfect gunleman, ifever there was one, and he's killed
a man chee police kill the man? What man? Ravenel Ravenel's killed a
man, good heaven, twin yearago, right in this very town.
Oh well, I didn't hang him? Did they hang ho Ravenel? Why
No, said he shocked himself tofense. Please killed a man? They
let him go? Yes? What'sthat prove? Hey? Proves you're right
(30:25):
too, don't it? All right? What of it? What of it?
This very minute? Your own daughter'sout with a murderer? What missus
Hawk's man? When I was nineteen, I killed a man, And for
twenty five years and more I've beenas respected it? Hey, party?
What? Oh? Dad? Mixto me? Shoverty, fish and water.
Party expeted? You are listening tothe Campbell Playhouse presentation of show Boat,
(31:07):
starring Margaret Sullivan and Austin Wells,with Helen Morgan and authoress Edna Ferber.
This is the Columbia Broadcasting System Agnolia. This is Ernest Chapple, Ladies
(31:34):
and gentlemen, welcoming you back tothe Campbell Playhouse. In a moment or
two, we will resume our presentationof Edna Ferber's show Boats. This is
the story of a glorious institution nowall but vanished from our American scene.
The great days of the showboat arepassed gone, with the customs and manners
of a more leisurely aided. Howtimes have changed since those days. Dining
(31:56):
then was an event, a mealof many courses. It started with a
great gleaming tureen of savory hot soup, and went on to the meat course,
with many side dishes and finally somesubstantial desserts. We in our day
have modified our view of eating,a new knowledge of what is good for
us as tempered our eating habits,soup has held its own. Indeed,
today soup is not only enjoyed asan opening course, but also as the
(32:21):
main dish of many lighter meals.Knowing this, women welcome the fact that
good soups are readily available in redand white labeled cans marked Cambells Delicious soups
they are too, Chicken gumbo,hearty vegetable soup, bean with bacon,
soup, chicken noodle. These andmany more Cambells make in the time honored
home made way. How many ofyou tried in your home? Now we
(32:44):
resume our Cambell play Ours presentation ofshow Boats starring Arsenwells and Margaret Sullivan,
with Helen Morgan and authoress Edna ferbermagno Is, you may remember, never
remembered very clearly what happened that afternoon. Gay Lord raven Or drove her far
out into the country to a littlechurch with a graveyard. And they got
(33:06):
out of the carriage and walked aroundunder the trees, and there were graves
there with the names of raven Oron them. That's what he said,
his father and grandfather, and wayback beyond there, he said. And
she didn't remember much about the rideback to town at dinner or anything after
a showtime, except gaze smiling ather, and her smiling back at him.
(33:27):
Foks, that murderer gold ride old. That's fine, all party.
You can tell him tonight. He'sthe best juvenile he'd ever played the rivers.
Now, that seemed beginner, willingto sacrifice your own daughter? Are
you for the sake of a fewdollars? Sacrifice just letting her speak civil
to us? Handsome young fellow there, watch now, just see him out
(33:49):
there looking at it's it timeful Ifyou didn't you mean to tell me you
see your own daughter married woman.Can't a man look at the girl out
of him to marry her? Happento marry her. If I was a
girl like Maggie, I'd run offwith him. That's the truth. She
had any spirit left after you devilinghe for eighteen years. She do it,
that's right, put IDs in herfriend. How do you know who
he is? He says he is. Did he show her the church?
(34:12):
Oh? Hawks here, I couldshow your gravestones. I could say my
name was Bonyparts and show your Napoleon'stomb. But that wouldn't make him my
grandfather, would it? He?Folks hooks cool? It's allowed people out
for care. Hear the shoe party. Hush up and listen to the show.
(34:36):
What have all your friends dissested you? Ma'm is gonna make and to
send you away? No, butfriendship is too cold a passion to sir,
my heart? Now? Will youcome with me? Oh? Give
me a friend in preference to asweetheart. How can I my dear miss
Brown, miss Lucy may, ohplease don't call me miss Brown? Quince
(34:59):
Lucy? Where do we go tomorrow? Not be there? The thunder of
the fathers that I'm so frightened?Will you be a poor man's bride?
Dune? Oh, luc in myown I know you. For Heaven's sake,
(35:25):
take your time. The minister willwait. Okay, where did you
think you were going? Yeah,you will fire. I don't know.
I just I spring mamma, lightout after me. Did you see he
lived the boat? I think so. Okay, I've got my breath.
Come on, let's go in andget married. Hold on a minute,
we've got to be engaged. Firstengaged, of course, give me a
(35:47):
hand the other one, silly,we've been married, and cage anything.
I'm so excited. Okay, okay, your diamond you like it? Oh,
it's so beautiful. I've never seenone before. Just look at the
senders to it. It's nothing todo with the senders to you. Crazy,
(36:09):
don't I get a kiss? You? Meaning broad daylight right here in
the minister's front yard. One.Well, of course we are getting married.
Well, hawks now, I hopeyou are satisfied. Those were the
(36:31):
first words she said when she heardthey were married, Just the first word.
She didn't stop talking for ten wholedays, and she finally did let
up a little because it's well,because she she was tired. She just
worn herself out. And when thebaby came, they called her Kim It
was the captain's idea because she wasborn on the river while the Cotton Blossom
was riding a store near the borderlines of Kentucky, Illinois, Missouri,
(36:53):
k i Am. And then whenKim was two, the captain bought a
new boat, had a built inSaint Louis with some new fan arrangement instead
of the kerosene lamps for footlights,and she was called Cotton Blossom too.
It was April before she was ready, late in the year to start down
river, but the captain didn't care. He wanted to try the new boat.
No. Sooner they started and therains began. They got as far
(37:14):
as matches and turned started upstream again. Then early one morning before dawn,
only a few miles out of Cairo, a squaw caught them. A course
of Magnonia's life had been changed.Hey, get up like we lost on
(37:37):
morn. I think we lost him, moron. You better get some clothes
on gate, come on off,yes, sir, No, yeah,
you better get warm. I'll his that you i'd ordered? Quiet?
(38:06):
Mama came to sleep, I'll doMaggie whinny? Is everything all right?
So quiet? Suddenly? Yeah,soon as daylight came the squarell quieted right
down. Who's everything? All right? Got off the snag If that's what
you mean, there's something wrong?What is it? Where's Papa? Well?
(38:28):
He was bobbing around the deck,and of course he had no business
given orders. That was my jobas a pilot. But he always did
that, ma'am. I never mindedit. What's happened to Papa? Where
he had to be? The Pasteschannel on the river too, he was
leaning over trying to snatcher. Hewas dark and the rain and all whinny
(38:51):
what happened? He was gone beforewe could get to him, Maggie.
And with the rain and the darkand the current, we did all we
could. It's no use, notin this part of the river. His
dead, Maggie, He's dead.Oh. With Andy Gonn, things were
(39:14):
different, might have worked out fora while if Farthenia Hawks hadn't been what
she was. The first to gowas the pilot, Old Wendy McClean,
about a month after Andy died.Till now, what do you mean?
Yes, I'm speaking to you,Wendy McClean. If I've had those steps
(39:37):
to the pilot house rubbed what fivehams rubbed ten times this week. Well,
what's the matter with him? What'sthe look them all muddied up?
What's that side ladder for her?I'd like to know. I've told her
before this shorks mem I'm no hired, hend. I worked with Andrey Hawks
twenty five years. I pay,you, don't I and good pay?
(39:57):
It is? So where the thingis you can't run a boat like you
were a kitchen. Well, I'mnot going to have it. You traced
in all of what's picking your filthytobacco leaving money tracks, ma'am. Well,
you're a Hawk's witter. No needto remind me. That's why I
said I'd go on working the sameas if Andrew was alive. If you'd
no mind to stay on, therewas nobody meganych. I figured Megan's husband
(40:21):
be the boss. After Well,I'm running this boat. Fact is,
ma'am, I ain't no petticoat pirates. Fact is, I guess I lost
my taste for rivers since cap went. Lost my nerve too. I guess
I'm through. Hm. Your moneywill be at the office for you six.
(40:42):
Ma'am. I can't stand this.I'm sick of the scar and everything
that goes with it. I'm nodarling just giving a hall crazy anyway,
Magnolia, I'm no actor. Idon't belong here. If I hadn't happened
to see you the day your fatheroffered me a job back, I wouldn't
(41:04):
be here now, are you sorry? Gay Garny. It's the only luck
I've ever had that lasted, Magnolia. What we ought to do is to
clear out of here. You've gotsomething coming to you from your father.
We could very easy you to gabin so hard and fast about mamma.
Listens, yeah, we were justwondering now that Papa's yeah, well,
(41:28):
oh maybe it wasn't crazy trying togo on. What do you want?
Haven't leave the river whind o,Mama? And what's to become the Captain
Blossom? I don't know. We'llhave to talk about it. We are
talking about it now. Listen here, Magnolia. Fox left no will just
like him. I've got as muchsay as you, mammas. Is my
(41:49):
share in this boat? I wantit? You mean money? Yes?
What would you have me do?Sell the boat right out from under me?
Captain Andy left insurance and he hadmoney in the bank. It's enough
for you. To buy Magnolia sharein the show boot if you want it.
What will you do with the money? Oh? Gay will probably invest
in some business, Yes, monkeybusiness. I'm leaving here. I've had
(42:13):
enough. What about Magnolia and herchild? They can come or stay.
That's for Hord to decide. I'llbe taking Magnolia. No, Gay,
Well, now you see walking rightoff and leaving you. Come back here,
child. I'll give you the money, but mind, don't you come
(42:34):
sniveling back to me when it's gone, and you and your child having a
penny to bless yourself with. Butthat's what it'll come to in the end.
My work wouldn't come to you forhelp, not if I was starving
today, and Kimcho, there's worsethings than starving today. I wouldn't come
to you, no matter what youwill just the same. I'll take my
oath on that, and remember this. When he's run through every penny of
(42:59):
your money, you needn't look tome for more. You can come back
to the boat, you and thechild. I'll look for you. But
him never nothing was too good,gay Lord Ravenal. That first winter they
(43:21):
lived in Chicago, they had asuite at the Sherman House. A nurse
made for Kim a pair of Englishhackneys to drive them to the races in
the afternoon and for the theater inthe evening. When that went of.
The first time Magnolia tasted Champagne,wore sables, sat in a box at
whole Is, and saw the Houcicouci dance. The World's Fair was all
very pleasant and luxurious and strange,almost like a green And through it all
(43:44):
Gay was beside her, handsome andelegant and thoughtful, laughing at her wide
eyed enjoyment. And then one daysuddenly their money was gone, simply gone.
I'm sorry, react, I haven'tgot it, say darling, how
do you mean you haven't got ahundred dollars? You're into that green gelve
dress you like so much. Youtold me to get it. Now this
(44:06):
is third time they sent a billto we'd to give me the money.
I'll write a check if you'd rather. I tell you I haven't got it,
Magnolia. Well, tomorrow will do, but please be sure tomorrow that
you. I can't be any sureof tomorrow than I am today. We
haven't got one hundred dollars in theworld, and that's a fact. But
darling, we had thirty thouars.I know afraid it's gone. I've been
(44:28):
running bad luck for weeks, badluck. But what gay Pharaoh day?
We had thirty thousand dollars. Thus, don't last forever, my dear.
Besides, last week I took aflyer, the flyer, yes, sir,
a tip on the market, thestock market, the stocks. Oh,
(44:49):
you wouldn't understand magnolia. But allof it gay? You didn't lose
all of it on the market.Well, no, some of it on
the market, some of it atPharaoh? How much? Gay? How
much? So what does it matter? It's gone? But gay? How
much at Pharaoh? Few? Thousand? How many? Five? Yes,
(45:13):
five more than five? Gay?Well years ten? Probably, I don't
remember magnolia. What does it matter? How it's gone? It's gone.
Once a month came a letter fromPerthy, no more or less. It
came addressed in a firm small handto the Sherman house. Crops are pretty
(45:36):
good, So business is according Iput up great jail last week, a
terrible job. But I can't buythis door stuff, no real rapes in
it. Well, I spose you'retoo stylish for the cotton blossom by now,
and Kim never hears of it.I got the pictures, you sense.
I think she looks kind of pickedup. Four hours a night,
I suppose, and no proper food. Never heard of such a thing.
(46:00):
Well, I will close, asGoodness knows. I have enough to do
without writing letters where they are probablynot wanted. The still, I like
to know how you and the childare doing, and all your mother Parthenia,
Anne Hawks dear mother. Gay ismore than good to me. I
have only to wish for a thing, and it is mine, everyone says.
(46:23):
Kim is unusually tall and great forher age. Jay speaks of a
trip to Europe next year. Ihave a new fur coat. He's very
good to me. Never an unkindword. You're very very happy, Love
Magnolia. Magnola and Ravenor moved firstof those endless changes that mark their life
(46:47):
in Chicago for the next twelve years. They left the prush and ice water
and fresh linen and rich food andluxurious service of the Sherman House. They
moved to a shabby family hotel sortof actors boarding house, north Side,
just across the Clark Street Bridge inOntario. It was within walking distance of
the places Gay said, and byplaces she knew that he meant Jeff Hankins
(47:10):
and Mike McDonald's and Prince Varnell's andother establishments on Gambler's Row where he spent
his days every day for twelve years, and always it was famine or plenty,
no middle ground. Sometimes a badstreet would last for weeks. First
the Malacca cane would go. Gayhad a reputation for paying his debts,
and Raveno's kine was always worth afew hundred dollars as a pledge at one
(47:34):
of the pawn shops near Clark Street. And then next some of the fine
English clothes would vanish, and last, always last a diamond engagement ring.
There were times when even the OntarioStreet Hotel became an impossible luxury that meant
rock bottom. Then it was thatthey took her room at three dollars a
week in a frowsy rooming house onOhio Street, the three of them in
one room, and boiled coffee andeggs and cooking over the gas jet.
(47:59):
And every time day around noon gayLord went down to the street. Elegance
is ever freshly shaved, his gloveson his hands and headed south towards Krako.
Was night when he returned, sometimeslong after midnight. Magnolia, the
Magnolia. Come on, Magnola,we're leaving this rightch ness, hurry,
we're telling that now. You don'tmean to night. Now you'll only take
(48:20):
a minute. I'll wake up theland then and she'll help. Oh no,
no, I'd rather do it myself. Oh there, Kim's asleep.
Cat. We wait until morning.No, we're going tonight this minute.
Come on, hurry. And hewas killing Magnolia six thousand and here,
here's your ink. Where we're goingSherman House? Or would you like to
try the auttorium for a change roomoverlooking the laker? How would you like
that? Yeah? Next week we'llrun down to West Beaten. Do us
(48:42):
good. During the day we canwalk and drive or ride. You'll learn
to ride Magnolia. In the eveningwe can take a whirl at my Samedi's
place. Oh, darling, don'tplay there, not much. I'm meaning,
let's try to keep what we have. What nonsense. May as well
give Sam a chance to pay ourexpenses. Remember the last we were down,
I won a thousand dollars at roomlet alone. And that's not my
(49:04):
game. Day, Yes, no, day, I want to talk to
What does it have to be now? Yes? Day? Listen? Do
we have to go on like this? Darling? Haven't you been listening?
I mean the money we're moving outof yet? What more do you want?
Day? That's just it? Everythingone day and nothing the next.
We ought to be living in ahouse, a little house where it's quiet
and peaceful and Kim can play likeother children. Now, don't get dramatic
(49:28):
magnolia, by Heaven's besides, we'vehad that all off before. But why
can't we do it? Why can'twe live like other people? In between?
Enough? Anne, of this horribleworrying about tomorrow. I can't bear.
You should have married a plumber.Come on, ignore you get your
things bag letsco I've got a carriagewaiting downstairs. Then came a bad streak
that lasted longer than the others.The cane was gone in the English suits
(49:51):
Magnolia's diamond ring. They've been inthe rooming house in Ohio Street now for
three months. Gay you early emI stopped into the Sherman house. The
letter was there for you, Ohfor Mama. Yeah, Gay Mormon's coming
(50:13):
coming here. Yes, listen,I've never been to Chicago. I want
to see the stockyards at Grand AperaHouse, the Masonic Temple, Marshall Fields,
Lincoln Park, and the Chicago verI'll put up at the Sherman House
where you are providing it's not tooexpensive. And I want you both to
understand. I mean to pay myown way. I'll not be holding to
any living soul. Well, we'llhave to move back. Gave to the
(50:35):
Sherman House. That's where she thinkswe live. Now that's out nor but
Gay, we haven't any churice andI haven't any money. And you've got
to borrow on what security. Idon't need business borrowing where your friends?
All those men, what man theminute? Those places, the men you've
known for so many years, thosescamblers, we've all been kind of borrowed
from me. But Mike McDonald,Hankins, Vonnell, we've all had thousands
of dollars from us, all themoney we brought to Chicago. Want to
(50:58):
give some of it back? Rightnow? You're you're prize me. There's
nobody like you. See how doyou act like that? And you know
how dear is today? I'm notgoing to have Mamma come here and see
us living like this. I'm notgoing to do it. Do you think
for a minute I would? When? What are you going to do about
it? I don't know. Idon't know, darling, but I'll do
something. I've been in holes asnep as this and managed to call out,
(51:22):
I'll do something. That was thelast time she heard his voice.
Next morning, when she left thehouse, he was still sleeping. It
was the day she went to schoolto see Kim. It was winter and
it was dark in the streets.By the time she got home. The
door of her room was locked,and when she opened it before she'd lighted
to guess, she felt the roomwas empty, Deserted. On the dresser
(51:45):
was an envelope. Her name onit in Rabbino was knee delicate to Heaven.
I know you're darling. I'm goingaway fucky week I was turning.
Your mother was gone. I sannyboy, you'll find three hundred dollars.
All you want a shelf. Oneof the clock should be enough for a
few weeks. Anyway, I lovealways. Okay, do you see Kim.
(52:23):
It's a long story old him all. No, I don't say that
Kim, I'm not sorry. I'mnot sorry if anything I ever did in
my whole life been a lot ofplaces. I've seen a lot of things.
Then the end that is where Ibelonged. I love it, the
rivers, the people, the showboats, and the life here. I don't
(52:45):
know why it's bred in me.I suppose it's Kim. I do know
why your grandfather died when you weretoo little to really know him. Knew
him well, Kim, you'd knowwhy. This concludes the Campbell Playhouse presentation
(53:20):
of Edna Ferber's Showboat, starring MargaretSullivan, Austin Wells, Helen Morgan,
and the authoress herself. Miss Ferberhas something special to say to us tonight,
and in just a moment, AustinWells will bring her back to the
microphone. In the meantime, hereis Ernest Chapple. When you taste Campbell's
vegetable Soup, I'm sure your verdictwill be the same as that of millions
(53:43):
of others who agree it is sogood that it's a waste of time and
energy to go to all the troubleof making vegetable soup at home. You
can prove it by serving this greatfamily favorite tomorrow, and if there are
children at the table, I knowthey'll show you by their busy spoons what
a big hit it makes with them. And while they're enjoying it, they'll
be getting the nourishing benefits of fifteenfine garden vegetables. If you have thought
(54:07):
there never could be another vegetable soupas good as the homemade kind, then
this is important. Campbell's vegetable soupis made the good home way, from
the simmering of its invigorating beef stockto the careful blending and cooking of its
vegetables. It's so good and sosubstantial that it's almost the meal in itself,
the kind of vegetable soup you'd expectfrom the finest home soup kettle.
(54:31):
Why not try it tomorrow? Rememberto ask your grocer for Campbell's Vegetable Soup.
And now Orson Welles brings you hisguests of this evening. Ladies and
gentlemen, I think you know everybodyhere. Margaret Sullivan, who is Magnolia,
whom you've seen so many times inmovie houses and in theaters, giving
so many fine performances, is ourguest on the Campbell play House for the
(54:52):
fifth time. In fact, thelast thing she did before she was Bridget
Heywood Heyward's mother, which she is, was the if you remember the nameless
heroine of our radio version of Rebecca, Miss Sullivan. It's very nice to
have you back. It's nice tobe back, mister Wells. It always
is. I know you know,Miss Morgan, and I know you love
(55:13):
her just as much as I do. Ladies and gentlemen, Helen Morgan,
mister Wells, thank you for anotherchance to play Julie. I suppose I
know shobrote about as well as heanybody. May I tell you it has
never seemed more real to me thantonight. Morgan. You're very kind.
(55:34):
And now, ladies and gentlemen,because miss Edna Ferber made her debut tonight
as an actress, and as youwill agree, a very good actress at
that, in the role of ParthyHawks, and because she wrote show Bolt
and should have something interesting to tellus about it. I've vanished or banter
and bandinage from our customary after peaceand asked to take the floor and say
what she will, Saiedna Ferber todayin nineteen thirty nine, I know could
(56:00):
have written Showboat, I am tooagonized at what I see and hear in
the world about me. Showboat carriesno message. It is just a romantic
novel about a rather glamorous phase ofAmerican life. Since it was written in
nineteen twenty six and this is nineteenthirty nine, there must be in it
(56:22):
equality that strikes a sympathetic chord.It never could have been written in a
war torn world. A writer shouldfeel free to write as he pleases,
and in these times he's deprived ofthat feeling. Those millions of you here
in America who have chuckled over HuckleberryFinn and Tom Sawyer. Those of you
(56:46):
who have thrilled that majestic piece ofprose, the Gettysburg addrests who have read
and heeded the wise sayings of BenjaminFranklin, whose pulses have quickened to the
beat and march of Aught Whitman's poems. If you love these things and believe
in their beauty and worth, savethem for long, long after the rulers
(57:12):
of people are dead. The literatureof a country lives on you, who
are listening to the Orson Wells programto night, make up your minds.
What kind of world you want foryour children, won't Whitman told you?
Listen to what he said long toolong, America, Traveling roads all even
(57:39):
and peaceful. You learn from joysand prosperity only, But now, ah,
now to learn from crises of anguish, advancing, grappling with direst faith
and recoiling. Not now to conceiveand show to the world what your children
(58:00):
Almas really are. Traveling roads alleven and people. You learn from joys
and prosperity only, But now,ah, now to learn from crises of
anguish, advancing, grappling with direstfaith and recoiling. Not now to conceive
(58:24):
and show to the world what yourchildren Almas really are. Thank you,
Miss Pleas, and thanks to youMiss Sullivan and Miss Morgan. Please come
back to us again on the Campbellplay House whenever you will.
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