April 22, 2025 • 29 mins
An anthology series presenting original radio plays, showcasing a variety of genres and storytelling styles. Each episode offers a unique narrative experience.
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Speaker 1 (00:03):
The National Broadcasting Company presents Radio City Playhouse Attraction twenty four,
(00:29):
Ladies and Gentelman. Here's the director of Radio City Playhouse,
Harry W.
Speaker 2 (00:33):
Junk.
Speaker 3 (00:34):
Thank you, Bob Warren Friends. Tonight's story, The Wisdom of Eve,
is adapted by Miss Mary Orr from her story of
the same name, which appeared in Cosmpolitan Magazine. We're happy
to have a script by this very talented writer on
Radio City Playhouse with her husband, Reginald Denham. Miss R
is co author of the Broadway hit Wallflower, which later
(00:55):
became a Warner Brothers picture. In Miss Orr's story, the
the part of Karen Manors is played by Miss Claudia Morgan,
one of radio's most talented actresses. We're very happy to
welcome Miss R as an author and Miss Morgan is
an actress to Radio City Playhouse. We hope that their
first appearance will not be their last. Here, then, is
(01:16):
The Wisdom of Eve by Mary R starring Claudia Morgan
as Karen, Attraction twenty four on Radio City Playhouse.
Speaker 4 (01:41):
If you were listening to the radio last night, perhaps
you heard what Ronnie Dawson, the famous Hollywood commentator, had
to say about Eve Harrington.
Speaker 5 (01:50):
But of course, ladies and gentlemen, the most thrilling story
in Hollywood this weekend is unfortunately used no longer your
Reddit splashed across your Sunday papers. The Fabulus, a heartwarming
story of Eve Harrington, who was nothing but talent to
help her, has risen in one short year from a
stage struck unknown to the most loved, most sought after,
(02:10):
most talented actress hollywould have seen in the generation.
Speaker 4 (02:20):
She was so hauntingly lovely, with that petal like skin
and those great sad blue eyes. I first saw Eve
Harrington a year ago. Lloyd, my husband, was the author
of the play in which Margot Cranston scored such a triumph.
Margaret and I are friends, and frequently after performance I
drop into Margot's dressing them to say hello. This particular day,
(02:44):
Eve Harrington was lurking outside the stage entrance with only
a pathetic little red coat to protect her from the
January weather. I'll always remember that pesthetic little red coat
of the stages.
Speaker 6 (02:57):
Missus Richards, Missus Richards. You are Missus Richards, aren't you?
Speaker 7 (03:02):
The wife is a playwright?
Speaker 6 (03:03):
Yes, would you please please take me in to meet miss.
Speaker 8 (03:06):
Cranston please if I could just get into a dressing
room and talk to her.
Speaker 4 (03:10):
He's allergic to strangers, child, Perhaps if you let me
have your autograph room.
Speaker 6 (03:15):
Missus Richards, I want to talk to her, please please, well,
oh please, Missus Richards.
Speaker 4 (03:21):
Well, if it means that much to you'll come along now,
Mind you, I can't guarantee anything.
Speaker 6 (03:27):
Oh I know, Missus Richards, but you're her friend.
Speaker 4 (03:30):
You never can tell what mood Margot will be in.
Speaker 8 (03:33):
Isn't she simply wonderful? Missus Richards, isn't she you poor kid?
You've really got a crush on her, haven't you.
Speaker 6 (03:40):
I think she's the greatest ectress I've ever seen.
Speaker 4 (03:44):
Well, wait here and I'll see if she wants to
talk to anybody.
Speaker 8 (03:46):
I've got all the time in the world, Missus Richards,
I may not be able to work it.
Speaker 4 (03:52):
Hello, Margot, can I come in?
Speaker 8 (03:54):
Karen Darling, bless you?
Speaker 6 (03:56):
Come on?
Speaker 7 (03:58):
Did you bring the new draft of Lloyd's play for
me to read?
Speaker 4 (04:00):
I did? I hope you like it. I hope he's
made Cora a little more mature. Oh, Margot, you're not
too old to play Cora. Lloyd thinks you can play anything.
Speaker 7 (04:09):
Well, Darling. I should hope so I always have, and I.
Speaker 4 (04:14):
Margo, there's a kid outside who's dying to meet you.
She goes into a trance at the near mention of
your name. All get rid of her, Karen, I need
no more to autograph hands today. I shall be a
sport Margot. She's just a skimpy kid in the morth
eaten redcoat.
Speaker 7 (04:27):
Give her a break red coat and little RedBerry.
Speaker 4 (04:29):
Is you know?
Speaker 7 (04:31):
That's Pray's been holding the stage entrance to day.
Speaker 6 (04:34):
She must be crazy, all right, bring her in. Don't
suppose your mind if I'm all the cold cream.
Speaker 4 (04:40):
She's such a wistful little thing. I feel sorry for you. Hey,
Red riding Hood, you can come in. Thanks, well, come on,
come on. This is miss Presk Miss.
Speaker 6 (04:59):
Harrington, Eve Harrington. How do you do?
Speaker 8 (05:03):
Oh Miss Cranston, this is a dream. Am I actually
in your dressing room? I can't believe it. I've seen
the place fourteen times, and you're even.
Speaker 6 (05:13):
More beautiful than I imagined.
Speaker 4 (05:15):
You are not serious, not fourteen times?
Speaker 8 (05:19):
Oh, I only by standing Rome. I go without my
lunches to save the money. The ushes know me now.
They saved me a place.
Speaker 6 (05:26):
That's you honestly, seeing this place fourteen times, I just
can't help it. Miss Cranston, you are so wonderful.
Speaker 4 (05:35):
It's very touching it. Karen touching hardly describes it. What
do you do for a living? Miss Harrington?
Speaker 8 (05:41):
Honestnographer, misters Richards, But my real life begins when I
come to the theater to watch Miss Cranston.
Speaker 7 (05:47):
Worse, my dear, I I haven't been so flattered in years.
Speaker 4 (05:53):
I've look here. How would you like to come back
to my apartment?
Speaker 7 (05:56):
I had some supper, my husband's out of town, and
would be all alone and talk about my acting.
Speaker 6 (06:03):
Oh, Miss Crampton, that would be the most wonderful thing
that could possibly happen to me. I couldn't think of
anything that it would make me happier.
Speaker 4 (06:22):
So that's the way I met Eve Harrington, a pathetic,
little stage struck kid with that soft, childlike lovingess. Margot,
of course, being only human, was touched and flattered by
the adoration. I'm fond of Margo. Without her, Lloyd's plays
might have run two weeks instead of two years. Margot
was a genius. She had that solid gold type of talent,
(06:45):
the talent that comes from a brilliant mind, working terribly hard.
Sometimes she was temperamental, sometimes affected, sometimes downright disagreeable. But
she was good company and a good sport, and I
am large. We got along splendidly. For about three weeks
after this, I didn't see Margot, and then one afternoon
(07:08):
I thought I'd just drop up to her apartment and
have a gosses. I'd completely forgotten Eve Harrington, completely forgotten her.
That's why I was so surprised when she answered the
door of Margaret's apartment. Well, if it isn't a little
red writing, no, what are you doing?
Speaker 6 (07:30):
Hello? Missus Richards? Do come in?
Speaker 4 (07:31):
Thank you? Why but you're looking ravish?
Speaker 8 (07:35):
It's because I'm so happy, missus Richards. Miss Cranston has
engaged me as her secretary. I take messages under fan mail, send.
Speaker 4 (07:42):
Our pictures about time Margot had someone to take care
of a correspondence. She still hasn't acknowledged a Christmas present
I center in nineteen forty two.
Speaker 6 (07:50):
She's so wonderful. Sit down, Missus Richards. Miss Cranston's in
the verb, but she'll be out shortly.
Speaker 5 (07:56):
Shall I tell her?
Speaker 7 (07:56):
You're here?
Speaker 4 (07:57):
That can wait? Tell me about you?
Speaker 6 (07:58):
Oh, it's so wonderful.
Speaker 8 (08:00):
I go to the theater with her every night and
stand in the wings and study her and watch her.
Speaker 4 (08:05):
Why do you want to study her?
Speaker 6 (08:06):
Oh, dear, I guess I've let it slip off.
Speaker 4 (08:09):
Let's what slip up?
Speaker 8 (08:10):
Oh, missus Richards, I do so want to act some day.
You don't know what it's like to want something so
badly that or that you can hardly stand it.
Speaker 6 (08:20):
I know I've got talent. I know I have.
Speaker 8 (08:23):
I lie awake at night dreaming that that I'm Margot Cranston,
that I'm taking the boughs hearing the applause. I've learned
every word of her part, every gesture, every movement she makes.
And you know, missus Richards.
Speaker 6 (08:36):
I could do that part. I could.
Speaker 8 (08:39):
I've taken it down in shorthand if only she let
me understudy her, if she'd only give me a chance
to know what I could do.
Speaker 4 (08:46):
I don't like it, Margo. Thanks, you're her secretary, and
already you've designed it on her job. I don't think
it's honest, and I don't.
Speaker 7 (08:55):
Like it, Missus Richards.
Speaker 6 (08:57):
I don't mean any harm. I wouldn't do anything to
hurt Miss Cranston.
Speaker 4 (09:02):
For the word, Margo know you want to act this sadly?
Speaker 2 (09:06):
No?
Speaker 4 (09:07):
Oh, why don't you tell her?
Speaker 6 (09:08):
I'm afraid? Do you think she'd help me? Well, she wouldn't. Oh,
I don't know what to think.
Speaker 8 (09:14):
Sometimes I think it's awful of me not to let
her know, And other times, missus Richard's.
Speaker 6 (09:20):
What will I do? I want so terribly to act.
I don't want to be deceit.
Speaker 4 (09:24):
I think you should tell her. She'll think you lied
to her. You never once let on you were interested
in the stage career yourself, Missus.
Speaker 8 (09:31):
Richards, when you were young, I mean, when you were
my age, didn't you ever want anything so badly that
it almost made you sick?
Speaker 4 (09:39):
My dear child, We've all wanted things, all of us.
Speaker 6 (09:43):
There isn't an understudy now. If Miss Cranston was sick,
the show just wouldn't go on.
Speaker 8 (09:48):
Couldn't you ask her to let me take her part
in the understudy rehearsals?
Speaker 6 (09:52):
Couldn't you?
Speaker 4 (09:52):
Eve? My dear Margo is never sick. She's as tough
as a truck, she's got gyms.
Speaker 6 (10:02):
But it wouldn't be such a wonderful experience.
Speaker 8 (10:04):
Oh, I know I'd never get to play the role
But couldn't you just suggest that I will not say
anything about my wanting to act.
Speaker 4 (10:13):
You're very sweetie and very young. I'll see what she says.
Speaker 6 (10:19):
She won't let me do it. If you say I
want to understudy her, it's got to be that I
just want some extra money. Oh, missus Richards, please please
help me. It won't do any harm. I could never
hope to ever.
Speaker 4 (10:31):
Play the role.
Speaker 8 (10:32):
But I'd learned so much, and there's so much for
me to learn, and I want.
Speaker 4 (10:36):
To so badly. Please, well, i'll see.
Speaker 6 (10:39):
And you won't tell her I want to be an actress.
What harm can that do?
Speaker 8 (10:44):
I'm just a nobody and she's famous. If I lose
this job, I'll have to go back to stenography.
Speaker 6 (10:51):
Please don't give me away.
Speaker 4 (10:55):
No, I won't give you away. I promise. A girl
made my heartache. It made me remember when I was
twenty two, how I wanted to be an actress, but
(11:16):
nobody ever took an interest to me. Eve didn't mean
any harm. She was just a stage struck kid, after all.
What harm could it do to Margo to let the
kid take part in the understudy rehearsals? And it would
make Eve so happy I wanted to see Eve happy.
I liked it. I felt sorry for her. She was
(11:37):
so sweet and so young. I brought the subject up
in Margot's dressing room a couple of days later. By
the way, Margot, there's something I wanted to ask you.
Lloyd and I came to the understudy rehearsal this morning.
They're pretty handicapped because there's nobody to read your part.
(11:58):
We never thought it necessary to engage under study for me.
If I couldn't go on some nicer show, just wouldn't
all No, dear, but it would be a help to
the cast if somebody read your part. I was wondering
if what with that little secretary of yours, why not
pay her a few extra dollars to read your part
at the understudy with her? So she could probably use
(12:18):
the money. Well, she probably could have said, it's decent
of your Margot too, take her under your wings.
Speaker 6 (12:25):
Strangely drawn to her, No, I've a hunt she stage struck.
Speaker 7 (12:31):
If she wants to act for.
Speaker 4 (12:32):
A kid, I don't think she's too talented either, then
you wouldn't mind her reading your part? Why, dear Karen,
why should I let it?
Speaker 2 (12:40):
Do it?
Speaker 4 (12:41):
You give us some extra money, and.
Speaker 7 (12:42):
It may prove to her that it isn't as easy
as it looks.
Speaker 4 (12:47):
You know, it's funny about Eve. What if I asked
her to jump in front of a taxi?
Speaker 7 (12:53):
I believe she'd do it without a qualm.
Speaker 4 (13:05):
So Eve got the chance to read Margo's past. Two
weeks later, I dropped in as an understudy rehearsal to
watch her. I was completely staggered. The girl was sensational.
She had everything. She had looks brained, talent, everything. I
came away from the rehearsal there a lump in my
(13:26):
throat because I had a feeling that Eve would never
make it, never achieve success. She wasn't tough enough, she
was too delicate, too honest. I wanted to give her
the benefit of my experience, the benefit of fifteen years
spent knocking around with theater people, knowing how things worked,
how tough you've got to be. One night, Lloyd came
(13:50):
home trembling with rage and hurt feelings. He'd had a
row with Margot's. I've never seen him.
Speaker 5 (13:57):
Of all the egotistical, disagreeable foult tmper, broken down old
bags I've never met in my fifteen years in the theater.
Margot breaks every record ever tech.
Speaker 4 (14:05):
Now, Darling, calm down, take it easy.
Speaker 2 (14:07):
He threw a hairbrush at me. Oh, threw it at
me all the script.
Speaker 1 (14:11):
And half jumped on it.
Speaker 5 (14:12):
Don here brained me with a hair brush.
Speaker 2 (14:14):
He's crazy, absolutely crazy.
Speaker 4 (14:16):
I know Margot's a little difficult sometimes, but you're just difficult.
Speaker 7 (14:22):
She is nuts.
Speaker 9 (14:26):
I never saw such an exhibition of temper in my life.
Speaker 4 (14:29):
Lloyd, why don't you just break with her? Why put
up with her?
Speaker 1 (14:33):
Ah, that's the trouble, Karen.
Speaker 10 (14:36):
I've got to put up with it. I need her,
We both need her.
Speaker 9 (14:43):
She may be the devil on the wheels, but she's
still the best actress.
Speaker 1 (14:46):
In New York.
Speaker 4 (14:54):
I felt sorry for Lloyd. He's sensitive and the fine writer.
Margot behaved pretty badly. I decided that perhaps it wouldn't
hurt Margot to read take him down a peg. Maybe
you'll think that's being petty and marsty. But when you
love your husband and see him being made miserable by
a temperamental actress, you some kind of do things. You're
(15:17):
sorry for us. So I tipped Eve off, told her
what I was going to do. Then I invited Margot
up to our place in Meadowbrook for the weekend. Then
I deliberately made her miss the train back on Monday.
It was a rotten trick, I suppose, but well, I
(15:38):
figured it wouldn't do Margo any harm for missing one performance. Well,
we we had to drive back through a blizzard and
we got to the certain time to see Eve play
the final ten minutes of the last day. She was wonderful.
I'd told her what critics to call, and they'd all
turned up. The next day, Eve gave an interview to
(16:01):
the columnists that almost turned my stomach. I just couldn't
imagine her saying such things. I couldn't imagine that gentle,
soft little voice being so cruel, being so heartless, and
so calculated.
Speaker 6 (16:13):
Yes, I was never a.
Speaker 8 (16:14):
Fan of miss Cranston's in my heart, of course, I
admire her no end. But her art doesn't come from inside.
It's not profound. It's an external.
Speaker 6 (16:24):
Surface thing of the nearer, shallow technique. And anyway, this
part calls for youth, and well, I have youths.
Speaker 8 (16:33):
Whereas Miss Cranston, let's face, it is no longer an angela.
Speaker 6 (16:37):
Even if she thinks she is. That's the trouble with
the theater.
Speaker 8 (16:41):
Today, practically every play is miscast with middle aged women
playing young virgins of twenty two because those actresses are
names like Margot Cranston.
Speaker 4 (16:56):
I would when I read it, I couldn't believe it.
It was incredibly cruel. Of course, Margot and Eve had
a showdown. By the time Margo got through with her,
Eve Harrington was in shred. Margo kicked her out of bodily.
As for me, I felt badly I'd placed temptation in
(17:18):
Eve's way and then hadn't told her how to behave,
how to handle success. However, I decided i'd I'd just
been wrong about the girl, but she was really pretty cheap.
I forgotten about her. Margo never found out about the
train missing business, and the whole incident was forgotten. Then
one day, about three months later, Eve Harrington forced her
(17:39):
way into the apartment, passed the maiden right into my bedroom.
She'd tried to talk to me on the phone that
I'd refused to speak to her. I'd told her the maids,
I'd told the maid I just wasn't at home. To
Eve Harrington, no.
Speaker 8 (17:49):
Matter what she was, I said, I know, you don't
want to see me, But I've got to talk to you.
I just got to I forced my way past your
maid and I've just got to.
Speaker 6 (17:58):
Talk to you.
Speaker 4 (17:58):
I'm afraid there's nothing to talk about the veriest.
Speaker 6 (18:01):
Please. Oh, I've been so miserable.
Speaker 4 (18:05):
I'm not in the mood for a scene. If you
want to behave yourself, you may sit down and talk
to me for exactly five minutes. Then you have to go.
Now what do you want to say, Richards?
Speaker 6 (18:20):
I have no more money none. I want to get
a dollar. It was your fault.
Speaker 4 (18:26):
It was your idea that I go on that night.
Speaker 6 (18:29):
You told me to get those critics. Why didn't you
tell me what to say?
Speaker 4 (18:32):
My fault? Now, look here hearing.
Speaker 6 (18:36):
I was just a scared kid from Milwaukee. Why didn't
you tell me what to say?
Speaker 8 (18:40):
How to behave You should never have let me make
such a fool of myself.
Speaker 6 (18:45):
I thought I was being small.
Speaker 4 (18:47):
And you only succeeded in being stupid.
Speaker 6 (18:49):
I know, don't you think? I know that.
Speaker 8 (18:52):
It was a hateful, horrible thing to do. Oh my god,
Cranston has been kind to me, and I.
Speaker 5 (19:00):
Seen her.
Speaker 7 (19:04):
Think that.
Speaker 4 (19:04):
It made me say, well, I'm glad you've decent to
be sorry.
Speaker 6 (19:09):
I'm not really that way, Missus Richards.
Speaker 4 (19:12):
I'm not really mean. Well now, isn't that sad?
Speaker 7 (19:19):
That's been horrible and mean?
Speaker 4 (19:24):
Please stop crying. I have no money, You have a
little money. Will stop.
Speaker 6 (19:33):
Just by this one really horrible mistake. I've ruined my
whole career. It went to my head, Missus Richards. I
just didn't know what I was saying.
Speaker 8 (19:43):
At that interview, with all those people listening to every word.
Speaker 6 (19:47):
I said and writing it down, I just didn't.
Speaker 7 (19:50):
Know what I was saying. O.
Speaker 8 (19:51):
Can't you believe that I didn't really mean it and
I'm sorry that I didn't really mean to hurt Missus Cranston.
Speaker 4 (19:57):
Can't you believe that maybe this is done you some good?
Believe me. I'm sorry for you, But maybe you've learned
an important lesson. Maybe you've learned what integrity means. Maybe
you've learned that if you kicked people too hard on
your way up the ladder, they kick you on your
way down.
Speaker 6 (20:14):
Oh I have I have, Honestly, I have to leave.
Speaker 4 (20:17):
Me your address and I'll send you some money in
the morning.
Speaker 6 (20:19):
I don't want charity, Missus Richards.
Speaker 4 (20:22):
What do you want?
Speaker 8 (20:24):
I've no right to ask it, missus Richards, but I
saw in the papers that mister Richard's new play.
Speaker 6 (20:30):
Is being cast.
Speaker 4 (20:31):
There's nothing in it for you.
Speaker 8 (20:32):
Eve, missus Richards, I read that play when your husband
left it for miss Cranston to read.
Speaker 6 (20:36):
I understand she refuses to do the part.
Speaker 4 (20:38):
I'm afraid that's true. I could do it, Eve, don't
be ridiculous. Cora is the lead. Lloyd wants a name.
As a matter of fact, he wants Margot, but she
won't touch it.
Speaker 6 (20:46):
She couldn't do it. Really, I could, missus Richards. I'm young.
Cora is a young girl.
Speaker 8 (20:53):
She's young and intense and well, she's just like me.
Speaker 6 (20:56):
I know she is.
Speaker 8 (20:57):
I know that I'm Cora. Couldn't you please ask mister
Richard to let me read for him?
Speaker 7 (21:02):
That's all.
Speaker 6 (21:02):
Just let me read it. If he doesn't like me,
I'll never bother you again, I promise.
Speaker 4 (21:07):
Well, if I don't know, I've learned.
Speaker 8 (21:09):
My lesson, Missus Richards, I promise I'll never do anything
mean or dishonest again ever, ever, as long as I live.
If you're just please let me read for that part either,
just let me read for it.
Speaker 6 (21:20):
If I'm not right. I'll go right back to Milwaukee.
I'll give up, but I've just got to read for
that part.
Speaker 4 (21:26):
I've got to She was so pathetic, sitting there on
my bed, so terribly young, so terribly earnest. I felt
almost old enough to be a mother, even though I'm
(21:46):
only thirty. Sixties made me feel as old as the world.
This was you wanting, suffering, aching to success, longing for recognition.
I'd become happy and calm. I was content to be
a good wife to a fine hey right, I wanted
nothing more out of life. I'd forgotten that when I
was her age, I wanted to act too. She brought
(22:08):
it all back to me. Basically, the girl was decent.
I was convinced of that. Basically she was a sweet,
misguided kid that had let one little success go to
her head. So I asked Lloyd to read her. He did.
I sent her one hundred dollars in the mail. She
brought herself a decent dress and went down a week
later and read the part of Cora. I had no
idea what Lloyd would think of.
Speaker 6 (22:30):
I'm glad you're back, Johnny. I know you're bad, I
know you're fad and I don't care.
Speaker 8 (22:36):
Can't you understand that I know you're fad and I
just don't care.
Speaker 9 (22:45):
Thank you, Miss Harrington, thank you.
Speaker 7 (22:47):
Did you like it?
Speaker 9 (22:48):
As a matter of fact, I like it very much.
I like it so much that well, you see, I
always consult Missus Richards before I cast, before I make
a final decision.
Speaker 2 (23:00):
I'd like you to read again.
Speaker 9 (23:01):
Next Thursday, I'll have Missus Richards come down and hear
you too.
Speaker 10 (23:06):
If she likes you, the part yours.
Speaker 6 (23:20):
So you see, Missus Richards, I'm meeting for both of
you tomorrow.
Speaker 4 (23:23):
Eve, don't count too much on us. I really can't
promise you anything.
Speaker 6 (23:27):
You're still good friends with Missus Cranston.
Speaker 4 (23:29):
Of course we're good friends. We disagreed about Cora. But
Margaret's going on tour with the Ten Divines next week.
She'll probably tour for a year in it.
Speaker 6 (23:36):
I see.
Speaker 8 (23:38):
I wish I could be sure that mister Richards would
cast me. I've run up a few bills, I.
Speaker 6 (23:43):
Mean, on the strength of getting the part.
Speaker 4 (23:45):
I've bought some col Dear, you're such a child. You
mustn't count on us. You just mustn't. You've never got
apart until the contract signs. I'd hate to see you disappointed.
Lloyd liked you very much, but he's also considering another girl.
I think between the two of you, I'll honestly have
to tell her if I like the other girl better.
Speaker 6 (24:05):
I'm sorry, missus Richards, I can't risk there.
Speaker 4 (24:10):
But I don't quite understand what you mean.
Speaker 6 (24:12):
I hate to do this, missus Richards, but I think
you'd better choose me.
Speaker 4 (24:17):
I beg your pardon.
Speaker 6 (24:19):
It would be very awkward for you if Miss Cranston
decided she didn't want to take your husband's play on tour,
wouldn't it?
Speaker 4 (24:26):
What are you trying to say?
Speaker 8 (24:29):
Just that it would be very unfortunate if Miss Cranston
broke up her business association with you and mister Richards
go on me?
Speaker 6 (24:37):
Well, I think.
Speaker 8 (24:39):
Miss Cranston would be very annoyed if I told her
that you'd made to miss the train that night. She's
always wondered how I managed to get the critics there,
How I knew in advance that I'd be playing the role.
You see, I phoned the critic's Monday morning. Miss Cranston
didn't miss the train until Monday evening. Don't you think
(25:01):
it would be rather unpleasant? Why you cheap little cancer temper.
Speaker 6 (25:07):
Missus Richards.
Speaker 8 (25:09):
If the truth were to come out, I don't think
miss Cranston would ever do one of your husband's plays again.
Speaker 6 (25:14):
Why I don't think she'd go on tour with the
Tender Vines.
Speaker 8 (25:17):
After all, she doesn't need the money you do, don't you.
Speaker 4 (25:22):
You dirty little blackmail? What a stupid fool I did.
You're quite an actressy. I was actually feeling motherly towards you.
Just for the record, is there anything you wouldn't do
to get a Pardons?
Speaker 8 (25:39):
Not that I can think of, missus Richards.
Speaker 4 (25:52):
I told Lloyd to give her the part, and he did.
He coached her, worked with her, and he did the
job so well that for the first time in his
career he had a hit. Without Margot Cranston. Everybody went
crazy about her. She was so sweet, so charming, so talented.
Now she's gone to Hollywood. She's sensational there two gracious, unspoiled,
(26:15):
a sweet, unsophisticated, typical American girl. She's made two pictures already,
both of them hugely successful. She's photographed in her pool,
out of a pool, beside a pool.
Speaker 7 (26:26):
And.
Speaker 4 (26:28):
Well that's the story. Of Eve Harrington's It's all just
as Ronnie Dawson says. Hollywood columnists. Of course they're always
getting exclusive, they know the real stories. I asked you
before if you'd heard Ronnie's broadcast last night, didn't I
It was really very interesting, very interesting.
Speaker 5 (26:51):
It's so, ladies and gentlemen, this wonderful young girl who's
achieved such tremendous success as an actress, crowned those primes
today by marrying Lloyd Richard Las Vegas, Nevada. Richard is
the famous Broadway playwright who first encouraged miss Harrington in
her career. He is the recently divorced husband of Karen
Manner's former stage actress. This story, Ladies and gentlemen, in
(27:13):
which a young girl with only talent and brains struggles
up from the bottom with no help, no assistance, only
her honest desire to make good, should prove an inspiration
to all young actresses. It proves what I've always said, brains, talent,
and above all, integrity always pay off. This is Ronnie
(27:33):
Dawson saying good night to you from Hollywood.
Speaker 4 (27:41):
Congratulations, Vive, stay up there, Yes, you'd better stay up there.
Speaker 1 (28:07):
You have just heard Radio City Playhouse attracts in twenty
four The Wisdom of Eve, written by Mary Orr and
directed by Harry W.
Speaker 2 (28:15):
Duncan.
Speaker 1 (28:16):
Claudia Morgan starred as Karen Manors. Eve was played by
Marilyn Erskine. Other players included Connie Lemke, Lou Hall, and
Mark Roberts. The music was composed and conducted by doctor
Roy Shield. Radio City Playhouse is supervised for the National
Broadcasting Company by Richard P.
Speaker 2 (28:35):
McDonough.
Speaker 3 (28:57):
This is Harry Jenkin again next week on Radio City Playhouse.
Speaker 2 (29:02):
The Bleak and Tragic.
Speaker 3 (29:03):
Styy of Marta Hillman, an overweight, homely girl who missed
everything that most.
Speaker 9 (29:08):
Women get, at which all women want.
Speaker 2 (29:11):
We hope you'll.
Speaker 3 (29:12):
Listen to Machine next week on Radio City Playhouse.
Speaker 2 (29:17):
Good Night, everybody.
Speaker 1 (29:43):
This program came to you from our Radio City Studios
in New York. Bob Warren speaking. This is NBC, the
National Broadcasting Company.
The National Broadcasting Company presents Radio City Playhouse Attraction twenty four,
(00:29):
Ladies and Gentelman. Here's the director of Radio City Playhouse,
Harry W.
Speaker 2 (00:33):
Junk.
Speaker 3 (00:34):
Thank you, Bob Warren Friends. Tonight's story, The Wisdom of Eve,
is adapted by Miss Mary Orr from her story of
the same name, which appeared in Cosmpolitan Magazine. We're happy
to have a script by this very talented writer on
Radio City Playhouse with her husband, Reginald Denham. Miss R
is co author of the Broadway hit Wallflower, which later
(00:55):
became a Warner Brothers picture. In Miss Orr's story, the
the part of Karen Manors is played by Miss Claudia Morgan,
one of radio's most talented actresses. We're very happy to
welcome Miss R as an author and Miss Morgan is
an actress to Radio City Playhouse. We hope that their
first appearance will not be their last. Here, then, is
(01:16):
The Wisdom of Eve by Mary R starring Claudia Morgan
as Karen, Attraction twenty four on Radio City Playhouse.
Speaker 4 (01:41):
If you were listening to the radio last night, perhaps
you heard what Ronnie Dawson, the famous Hollywood commentator, had
to say about Eve Harrington.
Speaker 5 (01:50):
But of course, ladies and gentlemen, the most thrilling story
in Hollywood this weekend is unfortunately used no longer your
Reddit splashed across your Sunday papers. The Fabulus, a heartwarming
story of Eve Harrington, who was nothing but talent to
help her, has risen in one short year from a
stage struck unknown to the most loved, most sought after,
(02:10):
most talented actress hollywould have seen in the generation.
Speaker 4 (02:20):
She was so hauntingly lovely, with that petal like skin
and those great sad blue eyes. I first saw Eve
Harrington a year ago. Lloyd, my husband, was the author
of the play in which Margot Cranston scored such a triumph.
Margaret and I are friends, and frequently after performance I
drop into Margot's dressing them to say hello. This particular day,
(02:44):
Eve Harrington was lurking outside the stage entrance with only
a pathetic little red coat to protect her from the
January weather. I'll always remember that pesthetic little red coat
of the stages.
Speaker 6 (02:57):
Missus Richards, Missus Richards. You are Missus Richards, aren't you?
Speaker 7 (03:02):
The wife is a playwright?
Speaker 6 (03:03):
Yes, would you please please take me in to meet miss.
Speaker 8 (03:06):
Cranston please if I could just get into a dressing
room and talk to her.
Speaker 4 (03:10):
He's allergic to strangers, child, Perhaps if you let me
have your autograph room.
Speaker 6 (03:15):
Missus Richards, I want to talk to her, please please, well,
oh please, Missus Richards.
Speaker 4 (03:21):
Well, if it means that much to you'll come along now,
Mind you, I can't guarantee anything.
Speaker 6 (03:27):
Oh I know, Missus Richards, but you're her friend.
Speaker 4 (03:30):
You never can tell what mood Margot will be in.
Speaker 8 (03:33):
Isn't she simply wonderful? Missus Richards, isn't she you poor kid?
You've really got a crush on her, haven't you.
Speaker 6 (03:40):
I think she's the greatest ectress I've ever seen.
Speaker 4 (03:44):
Well, wait here and I'll see if she wants to
talk to anybody.
Speaker 8 (03:46):
I've got all the time in the world, Missus Richards,
I may not be able to work it.
Speaker 4 (03:52):
Hello, Margot, can I come in?
Speaker 8 (03:54):
Karen Darling, bless you?
Speaker 6 (03:56):
Come on?
Speaker 7 (03:58):
Did you bring the new draft of Lloyd's play for
me to read?
Speaker 4 (04:00):
I did? I hope you like it. I hope he's
made Cora a little more mature. Oh, Margot, you're not
too old to play Cora. Lloyd thinks you can play anything.
Speaker 7 (04:09):
Well, Darling. I should hope so I always have, and I.
Speaker 4 (04:14):
Margo, there's a kid outside who's dying to meet you.
She goes into a trance at the near mention of
your name. All get rid of her, Karen, I need
no more to autograph hands today. I shall be a
sport Margot. She's just a skimpy kid in the morth
eaten redcoat.
Speaker 7 (04:27):
Give her a break red coat and little RedBerry.
Speaker 4 (04:29):
Is you know?
Speaker 7 (04:31):
That's Pray's been holding the stage entrance to day.
Speaker 6 (04:34):
She must be crazy, all right, bring her in. Don't
suppose your mind if I'm all the cold cream.
Speaker 4 (04:40):
She's such a wistful little thing. I feel sorry for you. Hey,
Red riding Hood, you can come in. Thanks, well, come on,
come on. This is miss Presk Miss.
Speaker 6 (04:59):
Harrington, Eve Harrington. How do you do?
Speaker 8 (05:03):
Oh Miss Cranston, this is a dream. Am I actually
in your dressing room? I can't believe it. I've seen
the place fourteen times, and you're even.
Speaker 6 (05:13):
More beautiful than I imagined.
Speaker 4 (05:15):
You are not serious, not fourteen times?
Speaker 8 (05:19):
Oh, I only by standing Rome. I go without my
lunches to save the money. The ushes know me now.
They saved me a place.
Speaker 6 (05:26):
That's you honestly, seeing this place fourteen times, I just
can't help it. Miss Cranston, you are so wonderful.
Speaker 4 (05:35):
It's very touching it. Karen touching hardly describes it. What
do you do for a living? Miss Harrington?
Speaker 8 (05:41):
Honestnographer, misters Richards, But my real life begins when I
come to the theater to watch Miss Cranston.
Speaker 7 (05:47):
Worse, my dear, I I haven't been so flattered in years.
Speaker 4 (05:53):
I've look here. How would you like to come back
to my apartment?
Speaker 7 (05:56):
I had some supper, my husband's out of town, and
would be all alone and talk about my acting.
Speaker 6 (06:03):
Oh, Miss Crampton, that would be the most wonderful thing
that could possibly happen to me. I couldn't think of
anything that it would make me happier.
Speaker 4 (06:22):
So that's the way I met Eve Harrington, a pathetic,
little stage struck kid with that soft, childlike lovingess. Margot,
of course, being only human, was touched and flattered by
the adoration. I'm fond of Margo. Without her, Lloyd's plays
might have run two weeks instead of two years. Margot
was a genius. She had that solid gold type of talent,
(06:45):
the talent that comes from a brilliant mind, working terribly hard.
Sometimes she was temperamental, sometimes affected, sometimes downright disagreeable. But
she was good company and a good sport, and I
am large. We got along splendidly. For about three weeks
after this, I didn't see Margot, and then one afternoon
(07:08):
I thought I'd just drop up to her apartment and
have a gosses. I'd completely forgotten Eve Harrington, completely forgotten her.
That's why I was so surprised when she answered the
door of Margaret's apartment. Well, if it isn't a little
red writing, no, what are you doing?
Speaker 6 (07:30):
Hello? Missus Richards? Do come in?
Speaker 4 (07:31):
Thank you? Why but you're looking ravish?
Speaker 8 (07:35):
It's because I'm so happy, missus Richards. Miss Cranston has
engaged me as her secretary. I take messages under fan mail, send.
Speaker 4 (07:42):
Our pictures about time Margot had someone to take care
of a correspondence. She still hasn't acknowledged a Christmas present
I center in nineteen forty two.
Speaker 6 (07:50):
She's so wonderful. Sit down, Missus Richards. Miss Cranston's in
the verb, but she'll be out shortly.
Speaker 5 (07:56):
Shall I tell her?
Speaker 7 (07:56):
You're here?
Speaker 4 (07:57):
That can wait? Tell me about you?
Speaker 6 (07:58):
Oh, it's so wonderful.
Speaker 8 (08:00):
I go to the theater with her every night and
stand in the wings and study her and watch her.
Speaker 4 (08:05):
Why do you want to study her?
Speaker 6 (08:06):
Oh, dear, I guess I've let it slip off.
Speaker 4 (08:09):
Let's what slip up?
Speaker 8 (08:10):
Oh, missus Richards, I do so want to act some day.
You don't know what it's like to want something so
badly that or that you can hardly stand it.
Speaker 6 (08:20):
I know I've got talent. I know I have.
Speaker 8 (08:23):
I lie awake at night dreaming that that I'm Margot Cranston,
that I'm taking the boughs hearing the applause. I've learned
every word of her part, every gesture, every movement she makes.
And you know, missus Richards.
Speaker 6 (08:36):
I could do that part. I could.
Speaker 8 (08:39):
I've taken it down in shorthand if only she let
me understudy her, if she'd only give me a chance
to know what I could do.
Speaker 4 (08:46):
I don't like it, Margo. Thanks, you're her secretary, and
already you've designed it on her job. I don't think
it's honest, and I don't.
Speaker 7 (08:55):
Like it, Missus Richards.
Speaker 6 (08:57):
I don't mean any harm. I wouldn't do anything to
hurt Miss Cranston.
Speaker 4 (09:02):
For the word, Margo know you want to act this sadly?
Speaker 2 (09:06):
No?
Speaker 4 (09:07):
Oh, why don't you tell her?
Speaker 6 (09:08):
I'm afraid? Do you think she'd help me? Well, she wouldn't. Oh,
I don't know what to think.
Speaker 8 (09:14):
Sometimes I think it's awful of me not to let
her know, And other times, missus Richard's.
Speaker 6 (09:20):
What will I do? I want so terribly to act.
I don't want to be deceit.
Speaker 4 (09:24):
I think you should tell her. She'll think you lied
to her. You never once let on you were interested
in the stage career yourself, Missus.
Speaker 8 (09:31):
Richards, when you were young, I mean, when you were
my age, didn't you ever want anything so badly that
it almost made you sick?
Speaker 4 (09:39):
My dear child, We've all wanted things, all of us.
Speaker 6 (09:43):
There isn't an understudy now. If Miss Cranston was sick,
the show just wouldn't go on.
Speaker 8 (09:48):
Couldn't you ask her to let me take her part
in the understudy rehearsals?
Speaker 6 (09:52):
Couldn't you?
Speaker 4 (09:52):
Eve? My dear Margo is never sick. She's as tough
as a truck, she's got gyms.
Speaker 6 (10:02):
But it wouldn't be such a wonderful experience.
Speaker 8 (10:04):
Oh, I know I'd never get to play the role
But couldn't you just suggest that I will not say
anything about my wanting to act.
Speaker 4 (10:13):
You're very sweetie and very young. I'll see what she says.
Speaker 6 (10:19):
She won't let me do it. If you say I
want to understudy her, it's got to be that I
just want some extra money. Oh, missus Richards, please please
help me. It won't do any harm. I could never
hope to ever.
Speaker 4 (10:31):
Play the role.
Speaker 8 (10:32):
But I'd learned so much, and there's so much for
me to learn, and I want.
Speaker 4 (10:36):
To so badly. Please, well, i'll see.
Speaker 6 (10:39):
And you won't tell her I want to be an actress.
What harm can that do?
Speaker 8 (10:44):
I'm just a nobody and she's famous. If I lose
this job, I'll have to go back to stenography.
Speaker 6 (10:51):
Please don't give me away.
Speaker 4 (10:55):
No, I won't give you away. I promise. A girl
made my heartache. It made me remember when I was
twenty two, how I wanted to be an actress, but
(11:16):
nobody ever took an interest to me. Eve didn't mean
any harm. She was just a stage struck kid, after all.
What harm could it do to Margo to let the
kid take part in the understudy rehearsals? And it would
make Eve so happy I wanted to see Eve happy.
I liked it. I felt sorry for her. She was
(11:37):
so sweet and so young. I brought the subject up
in Margot's dressing room a couple of days later. By
the way, Margot, there's something I wanted to ask you.
Lloyd and I came to the understudy rehearsal this morning.
They're pretty handicapped because there's nobody to read your part.
(11:58):
We never thought it necessary to engage under study for me.
If I couldn't go on some nicer show, just wouldn't
all No, dear, but it would be a help to
the cast if somebody read your part. I was wondering
if what with that little secretary of yours, why not
pay her a few extra dollars to read your part
at the understudy with her? So she could probably use
(12:18):
the money. Well, she probably could have said, it's decent
of your Margot too, take her under your wings.
Speaker 6 (12:25):
Strangely drawn to her, No, I've a hunt she stage struck.
Speaker 7 (12:31):
If she wants to act for.
Speaker 4 (12:32):
A kid, I don't think she's too talented either, then
you wouldn't mind her reading your part? Why, dear Karen,
why should I let it?
Speaker 2 (12:40):
Do it?
Speaker 4 (12:41):
You give us some extra money, and.
Speaker 7 (12:42):
It may prove to her that it isn't as easy
as it looks.
Speaker 4 (12:47):
You know, it's funny about Eve. What if I asked
her to jump in front of a taxi?
Speaker 7 (12:53):
I believe she'd do it without a qualm.
Speaker 4 (13:05):
So Eve got the chance to read Margo's past. Two
weeks later, I dropped in as an understudy rehearsal to
watch her. I was completely staggered. The girl was sensational.
She had everything. She had looks brained, talent, everything. I
came away from the rehearsal there a lump in my
(13:26):
throat because I had a feeling that Eve would never
make it, never achieve success. She wasn't tough enough, she
was too delicate, too honest. I wanted to give her
the benefit of my experience, the benefit of fifteen years
spent knocking around with theater people, knowing how things worked,
how tough you've got to be. One night, Lloyd came
(13:50):
home trembling with rage and hurt feelings. He'd had a
row with Margot's. I've never seen him.
Speaker 5 (13:57):
Of all the egotistical, disagreeable foult tmper, broken down old
bags I've never met in my fifteen years in the theater.
Margot breaks every record ever tech.
Speaker 4 (14:05):
Now, Darling, calm down, take it easy.
Speaker 2 (14:07):
He threw a hairbrush at me. Oh, threw it at
me all the script.
Speaker 1 (14:11):
And half jumped on it.
Speaker 5 (14:12):
Don here brained me with a hair brush.
Speaker 2 (14:14):
He's crazy, absolutely crazy.
Speaker 4 (14:16):
I know Margot's a little difficult sometimes, but you're just difficult.
Speaker 7 (14:22):
She is nuts.
Speaker 9 (14:26):
I never saw such an exhibition of temper in my life.
Speaker 4 (14:29):
Lloyd, why don't you just break with her? Why put
up with her?
Speaker 1 (14:33):
Ah, that's the trouble, Karen.
Speaker 10 (14:36):
I've got to put up with it. I need her,
We both need her.
Speaker 9 (14:43):
She may be the devil on the wheels, but she's
still the best actress.
Speaker 1 (14:46):
In New York.
Speaker 4 (14:54):
I felt sorry for Lloyd. He's sensitive and the fine writer.
Margot behaved pretty badly. I decided that perhaps it wouldn't
hurt Margot to read take him down a peg. Maybe
you'll think that's being petty and marsty. But when you
love your husband and see him being made miserable by
a temperamental actress, you some kind of do things. You're
(15:17):
sorry for us. So I tipped Eve off, told her
what I was going to do. Then I invited Margot
up to our place in Meadowbrook for the weekend. Then
I deliberately made her miss the train back on Monday.
It was a rotten trick, I suppose, but well, I
(15:38):
figured it wouldn't do Margo any harm for missing one performance. Well,
we we had to drive back through a blizzard and
we got to the certain time to see Eve play
the final ten minutes of the last day. She was wonderful.
I'd told her what critics to call, and they'd all
turned up. The next day, Eve gave an interview to
(16:01):
the columnists that almost turned my stomach. I just couldn't
imagine her saying such things. I couldn't imagine that gentle,
soft little voice being so cruel, being so heartless, and
so calculated.
Speaker 6 (16:13):
Yes, I was never a.
Speaker 8 (16:14):
Fan of miss Cranston's in my heart, of course, I
admire her no end. But her art doesn't come from inside.
It's not profound. It's an external.
Speaker 6 (16:24):
Surface thing of the nearer, shallow technique. And anyway, this
part calls for youth, and well, I have youths.
Speaker 8 (16:33):
Whereas Miss Cranston, let's face, it is no longer an angela.
Speaker 6 (16:37):
Even if she thinks she is. That's the trouble with
the theater.
Speaker 8 (16:41):
Today, practically every play is miscast with middle aged women
playing young virgins of twenty two because those actresses are
names like Margot Cranston.
Speaker 4 (16:56):
I would when I read it, I couldn't believe it.
It was incredibly cruel. Of course, Margot and Eve had
a showdown. By the time Margo got through with her,
Eve Harrington was in shred. Margo kicked her out of bodily.
As for me, I felt badly I'd placed temptation in
(17:18):
Eve's way and then hadn't told her how to behave,
how to handle success. However, I decided i'd I'd just
been wrong about the girl, but she was really pretty cheap.
I forgotten about her. Margo never found out about the
train missing business, and the whole incident was forgotten. Then
one day, about three months later, Eve Harrington forced her
(17:39):
way into the apartment, passed the maiden right into my bedroom.
She'd tried to talk to me on the phone that
I'd refused to speak to her. I'd told her the maids,
I'd told the maid I just wasn't at home. To
Eve Harrington, no.
Speaker 8 (17:49):
Matter what she was, I said, I know, you don't
want to see me, But I've got to talk to you.
I just got to I forced my way past your
maid and I've just got to.
Speaker 6 (17:58):
Talk to you.
Speaker 4 (17:58):
I'm afraid there's nothing to talk about the veriest.
Speaker 6 (18:01):
Please. Oh, I've been so miserable.
Speaker 4 (18:05):
I'm not in the mood for a scene. If you
want to behave yourself, you may sit down and talk
to me for exactly five minutes. Then you have to go.
Now what do you want to say, Richards?
Speaker 6 (18:20):
I have no more money none. I want to get
a dollar. It was your fault.
Speaker 4 (18:26):
It was your idea that I go on that night.
Speaker 6 (18:29):
You told me to get those critics. Why didn't you
tell me what to say?
Speaker 4 (18:32):
My fault? Now, look here hearing.
Speaker 6 (18:36):
I was just a scared kid from Milwaukee. Why didn't
you tell me what to say?
Speaker 8 (18:40):
How to behave You should never have let me make
such a fool of myself.
Speaker 6 (18:45):
I thought I was being small.
Speaker 4 (18:47):
And you only succeeded in being stupid.
Speaker 6 (18:49):
I know, don't you think? I know that.
Speaker 8 (18:52):
It was a hateful, horrible thing to do. Oh my god,
Cranston has been kind to me, and I.
Speaker 5 (19:00):
Seen her.
Speaker 7 (19:04):
Think that.
Speaker 4 (19:04):
It made me say, well, I'm glad you've decent to
be sorry.
Speaker 6 (19:09):
I'm not really that way, Missus Richards.
Speaker 4 (19:12):
I'm not really mean. Well now, isn't that sad?
Speaker 7 (19:19):
That's been horrible and mean?
Speaker 4 (19:24):
Please stop crying. I have no money, You have a
little money. Will stop.
Speaker 6 (19:33):
Just by this one really horrible mistake. I've ruined my
whole career. It went to my head, Missus Richards. I
just didn't know what I was saying.
Speaker 8 (19:43):
At that interview, with all those people listening to every word.
Speaker 6 (19:47):
I said and writing it down, I just didn't.
Speaker 7 (19:50):
Know what I was saying. O.
Speaker 8 (19:51):
Can't you believe that I didn't really mean it and
I'm sorry that I didn't really mean to hurt Missus Cranston.
Speaker 4 (19:57):
Can't you believe that maybe this is done you some good?
Believe me. I'm sorry for you, But maybe you've learned
an important lesson. Maybe you've learned what integrity means. Maybe
you've learned that if you kicked people too hard on
your way up the ladder, they kick you on your
way down.
Speaker 6 (20:14):
Oh I have I have, Honestly, I have to leave.
Speaker 4 (20:17):
Me your address and I'll send you some money in
the morning.
Speaker 6 (20:19):
I don't want charity, Missus Richards.
Speaker 4 (20:22):
What do you want?
Speaker 8 (20:24):
I've no right to ask it, missus Richards, but I
saw in the papers that mister Richard's new play.
Speaker 6 (20:30):
Is being cast.
Speaker 4 (20:31):
There's nothing in it for you.
Speaker 8 (20:32):
Eve, missus Richards, I read that play when your husband
left it for miss Cranston to read.
Speaker 6 (20:36):
I understand she refuses to do the part.
Speaker 4 (20:38):
I'm afraid that's true. I could do it, Eve, don't
be ridiculous. Cora is the lead. Lloyd wants a name.
As a matter of fact, he wants Margot, but she
won't touch it.
Speaker 6 (20:46):
She couldn't do it. Really, I could, missus Richards. I'm young.
Cora is a young girl.
Speaker 8 (20:53):
She's young and intense and well, she's just like me.
Speaker 6 (20:56):
I know she is.
Speaker 8 (20:57):
I know that I'm Cora. Couldn't you please ask mister
Richard to let me read for him?
Speaker 7 (21:02):
That's all.
Speaker 6 (21:02):
Just let me read it. If he doesn't like me,
I'll never bother you again, I promise.
Speaker 4 (21:07):
Well, if I don't know, I've learned.
Speaker 8 (21:09):
My lesson, Missus Richards, I promise I'll never do anything
mean or dishonest again ever, ever, as long as I live.
If you're just please let me read for that part either,
just let me read for it.
Speaker 6 (21:20):
If I'm not right. I'll go right back to Milwaukee.
I'll give up, but I've just got to read for
that part.
Speaker 4 (21:26):
I've got to She was so pathetic, sitting there on
my bed, so terribly young, so terribly earnest. I felt
almost old enough to be a mother, even though I'm
(21:46):
only thirty. Sixties made me feel as old as the world.
This was you wanting, suffering, aching to success, longing for recognition.
I'd become happy and calm. I was content to be
a good wife to a fine hey right, I wanted
nothing more out of life. I'd forgotten that when I
was her age, I wanted to act too. She brought
(22:08):
it all back to me. Basically, the girl was decent.
I was convinced of that. Basically she was a sweet,
misguided kid that had let one little success go to
her head. So I asked Lloyd to read her. He did.
I sent her one hundred dollars in the mail. She
brought herself a decent dress and went down a week
later and read the part of Cora. I had no
idea what Lloyd would think of.
Speaker 6 (22:30):
I'm glad you're back, Johnny. I know you're bad, I
know you're fad and I don't care.
Speaker 8 (22:36):
Can't you understand that I know you're fad and I
just don't care.
Speaker 9 (22:45):
Thank you, Miss Harrington, thank you.
Speaker 7 (22:47):
Did you like it?
Speaker 9 (22:48):
As a matter of fact, I like it very much.
I like it so much that well, you see, I
always consult Missus Richards before I cast, before I make
a final decision.
Speaker 2 (23:00):
I'd like you to read again.
Speaker 9 (23:01):
Next Thursday, I'll have Missus Richards come down and hear
you too.
Speaker 10 (23:06):
If she likes you, the part yours.
Speaker 6 (23:20):
So you see, Missus Richards, I'm meeting for both of
you tomorrow.
Speaker 4 (23:23):
Eve, don't count too much on us. I really can't
promise you anything.
Speaker 6 (23:27):
You're still good friends with Missus Cranston.
Speaker 4 (23:29):
Of course we're good friends. We disagreed about Cora. But
Margaret's going on tour with the Ten Divines next week.
She'll probably tour for a year in it.
Speaker 6 (23:36):
I see.
Speaker 8 (23:38):
I wish I could be sure that mister Richards would
cast me. I've run up a few bills, I.
Speaker 6 (23:43):
Mean, on the strength of getting the part.
Speaker 4 (23:45):
I've bought some col Dear, you're such a child. You
mustn't count on us. You just mustn't. You've never got
apart until the contract signs. I'd hate to see you disappointed.
Lloyd liked you very much, but he's also considering another girl.
I think between the two of you, I'll honestly have
to tell her if I like the other girl better.
Speaker 6 (24:05):
I'm sorry, missus Richards, I can't risk there.
Speaker 4 (24:10):
But I don't quite understand what you mean.
Speaker 6 (24:12):
I hate to do this, missus Richards, but I think
you'd better choose me.
Speaker 4 (24:17):
I beg your pardon.
Speaker 6 (24:19):
It would be very awkward for you if Miss Cranston
decided she didn't want to take your husband's play on tour,
wouldn't it?
Speaker 4 (24:26):
What are you trying to say?
Speaker 8 (24:29):
Just that it would be very unfortunate if Miss Cranston
broke up her business association with you and mister Richards
go on me?
Speaker 6 (24:37):
Well, I think.
Speaker 8 (24:39):
Miss Cranston would be very annoyed if I told her
that you'd made to miss the train that night. She's
always wondered how I managed to get the critics there,
How I knew in advance that I'd be playing the role.
You see, I phoned the critic's Monday morning. Miss Cranston
didn't miss the train until Monday evening. Don't you think
(25:01):
it would be rather unpleasant? Why you cheap little cancer temper.
Speaker 6 (25:07):
Missus Richards.
Speaker 8 (25:09):
If the truth were to come out, I don't think
miss Cranston would ever do one of your husband's plays again.
Speaker 6 (25:14):
Why I don't think she'd go on tour with the
Tender Vines.
Speaker 8 (25:17):
After all, she doesn't need the money you do, don't you.
Speaker 4 (25:22):
You dirty little blackmail? What a stupid fool I did.
You're quite an actressy. I was actually feeling motherly towards you.
Just for the record, is there anything you wouldn't do
to get a Pardons?
Speaker 8 (25:39):
Not that I can think of, missus Richards.
Speaker 4 (25:52):
I told Lloyd to give her the part, and he did.
He coached her, worked with her, and he did the
job so well that for the first time in his
career he had a hit. Without Margot Cranston. Everybody went
crazy about her. She was so sweet, so charming, so talented.
Now she's gone to Hollywood. She's sensational there two gracious, unspoiled,
(26:15):
a sweet, unsophisticated, typical American girl. She's made two pictures already,
both of them hugely successful. She's photographed in her pool,
out of a pool, beside a pool.
Speaker 7 (26:26):
And.
Speaker 4 (26:28):
Well that's the story. Of Eve Harrington's It's all just
as Ronnie Dawson says. Hollywood columnists. Of course they're always
getting exclusive, they know the real stories. I asked you
before if you'd heard Ronnie's broadcast last night, didn't I
It was really very interesting, very interesting.
Speaker 5 (26:51):
It's so, ladies and gentlemen, this wonderful young girl who's
achieved such tremendous success as an actress, crowned those primes
today by marrying Lloyd Richard Las Vegas, Nevada. Richard is
the famous Broadway playwright who first encouraged miss Harrington in
her career. He is the recently divorced husband of Karen
Manner's former stage actress. This story, Ladies and gentlemen, in
(27:13):
which a young girl with only talent and brains struggles
up from the bottom with no help, no assistance, only
her honest desire to make good, should prove an inspiration
to all young actresses. It proves what I've always said, brains, talent,
and above all, integrity always pay off. This is Ronnie
(27:33):
Dawson saying good night to you from Hollywood.
Speaker 4 (27:41):
Congratulations, Vive, stay up there, Yes, you'd better stay up there.
Speaker 1 (28:07):
You have just heard Radio City Playhouse attracts in twenty
four The Wisdom of Eve, written by Mary Orr and
directed by Harry W.
Speaker 2 (28:15):
Duncan.
Speaker 1 (28:16):
Claudia Morgan starred as Karen Manors. Eve was played by
Marilyn Erskine. Other players included Connie Lemke, Lou Hall, and
Mark Roberts. The music was composed and conducted by doctor
Roy Shield. Radio City Playhouse is supervised for the National
Broadcasting Company by Richard P.
Speaker 2 (28:35):
McDonough.
Speaker 3 (28:57):
This is Harry Jenkin again next week on Radio City Playhouse.
Speaker 2 (29:02):
The Bleak and Tragic.
Speaker 3 (29:03):
Styy of Marta Hillman, an overweight, homely girl who missed
everything that most.
Speaker 9 (29:08):
Women get, at which all women want.
Speaker 2 (29:11):
We hope you'll.
Speaker 3 (29:12):
Listen to Machine next week on Radio City Playhouse.
Speaker 2 (29:17):
Good Night, everybody.
Speaker 1 (29:43):
This program came to you from our Radio City Studios
in New York. Bob Warren speaking. This is NBC, the
National Broadcasting Company.
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