Everyman's Theater

Everyman’s Theater was a captivating old-time radio dramatic series that graced the airwaves of NBC from 1940 to 1941. This 30-minute program showcased the creative genius of Arch Oboler, a prolific writer and director who had already made a name for himself in the world of radio drama.

The series was a testament to Oboler’s versatility and growing appeal to a wider audience. It succeeded his previous venture, Arch Oboler’s Plays, and further cemented his reputation as a master of radio drama. Everyman’s Theater offered listeners a rich tapestry of stories, ranging from original works penned by Oboler himself to adaptations of existing material.

What set Everyman’s Theater apart was its unique blend of storytelling elements. Oboler’s productions were characterized by offbeat plotting, realistic sound effects, and stream-of-consciousness narration. This innovative approach to radio drama captivated audiences and pushed the boundaries of what was possible in the medium.

The show featured a stellar lineup of Hollywood stars, bringing their considerable talents to the airwaves. Listeners were treated to performances by some of the biggest names in the entertainment industry, including Joan Crawford, Bette Davis, Katharine Hepburn, Raymond Massey, and Boris Karloff, among others.

The Stars

Everyman’s Theater boasted an impressive roster of guest stars that would make any Hollywood producer envious. The show’s ability to attract top-tier talent was a testament to Oboler’s reputation and the quality of the productions.

Joan Crawford, known for her powerful screen presence, brought her intensity to the radio medium, captivating listeners with her distinctive voice. Bette Davis, another silver screen legend, lent her formidable acting skills to Oboler’s scripts, creating memorable characters that lived solely in the imagination of the audience.

Katharine Hepburn, with her unique vocal timbre and commanding presence, added gravitas to her radio performances. Raymond Massey, a respected stage and screen actor, brought his considerable range to the show, while Boris Karloff, famous for his roles in horror films, demonstrated his versatility in Oboler’s diverse range of stories.

Other notable stars who graced Everyman’s Theater included Norma Shearer, Marlene Dietrich, and Franchot Tone. This rotating cast of luminaries ensured that each episode was a special event, drawing listeners back week after week to hear their favorite stars in new and exciting roles.

Key Dates

• October 4, 1940: Everyman’s Theater makes its debut on NBC, marking the beginning of a new chapter in Arch Oboler’s radio career.
• March 28, 1941: The final episode of Everyman’s Theater is broadcast, bringing the series to a close after 26 episodes.

Other Information

Arch Oboler’s involvement in Everyman’s Theater went far beyond that of a typical writer or director. He exercised tight control over all facets of the program, from writing the scripts to directing the episodes. This level of creative control allowed Oboler to realize his unique vision for each production.

Oboler’s commitment to quality and authenticity was evident in every aspect of the show. For the production of “None but the Lonely Heart,” he went so far as to hire a full symphony orchestra to play music written by Tchaikovsky. This attention to detail and willingness to go the extra mile set Everyman’s Theater apart from other radio dramas of the time.

The show’s opening theme, “Death and Transfiguration,” set the tone for the dramatic and often thought-provoking stories that followed. This choice of theme music reflected Oboler’s penchant for exploring deep and sometimes dark themes in his work. Everyman’s Theater was sponsored by Oxydol, a popular laundry detergent of the era. This sponsorship provided the financial backing necessary to attract top talent and produce high-quality broadcasts.

Oboler’s compensation for the show was substantial, reflecting his status as a premier radio dramatist. He was paid $4,000 per week, a significant sum in the 1940s. From this, Oboler was responsible for paying the actors and musicians involved in each production, giving him even greater control over the casting and musical elements of the show.

Some of the most memorable plays presented on Everyman’s Theater included “None but the Lonely Heart,” “Ivory Tower,” “The Laughing Man,” “The Ugliest Man in the World,” and “Lust for Life.” These productions showcased Oboler’s range as a writer and his ability to craft compelling stories for the radio medium.

Interestingly, not all of the scripts used on Everyman’s Theater were new. Oboler occasionally revisited scripts that had already been presented on radio, giving them new life with different casts or updated productions. This practice allowed him to refine and perfect his work, while also introducing these stories to a new audience.

Everyman’s Theater represented a significant evolution in Oboler’s career. While his previous series, Lights Out, had established him as a master of radio horror, Everyman’s Theater allowed him to explore a broader range of genres and themes. This versatility further enhanced Oboler’s reputation as one of the premier writers and directors in radio drama.

The legacy of Everyman’s Theater extends beyond its brief run on NBC. The show’s innovative approach to storytelling, its ability to attract top Hollywood talent, and Oboler’s distinctive style all contributed to the advancement of radio drama as an art form.

Today, Everyman’s Theater stands as a shining example of the golden age of radio, a time when the airwaves crackled with creativity and the imagination of listeners was the most powerful special effect of all.