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Bust of Paul Frees ''The Man of A Thousand Voices'' circa 1978

Paul Frees in The Shaggy Dog (1978)

February 3 1953 announcement of Paul Frees' D.J. gig called My Own Place for ABC Radio.

Paul Frees, arguably Radio's single most prolific, widely heard voice throughout the Golden Age of Radio and The Golden Age of Television, was particularly busy between 1948 and 1952, as CBS sought vehicle after vehicle for him to lead. Between those years, CBS showcased Frees as the lead in:

The Player (1948) as all scripted characters
Studio X (1948) as all scripted characters
The Green Lama (1949) as Jethro Dumont, The Green Lama
Crime Correspondent (1949) as Larry Mitchell, Radio Crime Reporter
The Man In Black (1951?) as 'The Teller of Tales'
The Black Book (1952) as 'The Teller of Tales'

This of course, in addition to Frees' various announcing, narrating and character acting roles in scores of other CBS dramatic vehicles. He'd been the announcer on Suspense for 100+ episodes throughout that period, as well as acting in both Suspense and Escape! throughout the same period. In addition, out on the west coast, ABC had Frees airing a nightly D.J. program from 11 p.m. to 2 a.m.. Clearly one of CBS Pacific's plum performers, in spite of the number of starring vehicles CBS created for him, either his other professional demands--or CBS' understandable need of him supporting other CBS programming requirements--limited almost all of his starring vehicles to a couple of months in duration--or less.

For anyone within listening distance of either a Radio or Television from the 1950s until Frees' death in 1986, there's no question that, in all likelihood, they heard Paul Frees' voice at least once per day, virtually every day of their lives, over one medium or another. Indeed, a University study once determined that so ubiquitous was Paul Frees' voicework during the 1960s and 1970s, that there was literally not one day of Television or Radio during that period in which Paul Frees' voice was not heard.

We have no way of knowing whether the numerous attempts to find Frees a starring vehicle of more than a couple of months in duration was a source of frustration to him--or not. It's hard to imagine Frees feeling disappointment in any case. Given the unprecedented level at which Frees was gainfully employed in Film, Radio, Television, and Animation from his return to civilian life after his service in World War II until his death in 1986, it's hard to imagine him feeling in any way lacking--over any medium. But whether he felt any frustration either personally or professionally in finding a starring vehicle for his enormous talent, it's a foregone conclusion that his growing body of fans had to have been feeling a bit frustrated by CBS in the process.

Indeed, all four of the above cited solo vehicles for Frees were compelling, well-produced, well-performed, and well-written Radio. We say four, because The Player and Studio X were clearly the same vehicle, simply repackaged to subtlely differentiate one from the other. The Man In Black, while there's as yet no record of it having aired beyond three auditions, seemed the plausible foundation for The Black Book. The Man In Black was a catchy spin-off from Suspense--another extraordinarily successful CBS vehicle, but apparently some party to the concept felt that The Man In Black would be confused with Suspense. When The Man In Black ultimately aired in the CBS line-up for the Spring of 1952, it was as The Black Book.

Frees was still 'The Teller of Tales from The Black Book', in any case--as was The Man In Black. His supporting cast for the first three The Black Book programs that actually aired comprised John Dehner and Virginia Gregg--two of the finest, most versatile West Coast players then available. Legendary Norm Macdonnell [of Escape, Gunsmoke, Fort Laramie, and Adventures of Philip Marlowe fame] wrote, produced and directed all three production scripts, and brilliant composer Leith Stevens scored the beautiful musical backdrop throughout. Clearly there wasn't a single aspect of The Black Book that wasn't absolutely top-notch, so it defies logic as to why it was--in our opinion--prematurely dropped from the line-up. For our money, we'd sit through a Paul Frees reading of the phonebook for an hour or half-hour a week--that's how mesmerizing and compelling his voice alone, was.

Series Derivatives:

The Man In Black

Genre:

Anthology of Golden Age Radio Crime Dramas

Network(s):

CBS

Audition Date(s) and Title(s):

51-xx-xx -- [The Man In Black audition] No. 1
51-xx-xx -- [The Man In Black audition] No. 2
52-02-02 -- The Price Of the Head [The Man In Black audition]

Premiere Date(s) and Title(s):

52-02-17 01 On Schedule

Run Dates(s)/ Time(s):

52-02-17 to 52-02-24

Syndication:

CBS Pacific Network Transcriptions

Sponsors:

Sustaining

Director(s):

Norman Macdonnell

Principal Actors:

Paul Frees, John Dehner, Virginia Gregg

Recurring Character(s):

The Man In Black

Protagonist(s):

The Man In Black

Author(s):

Nelson Bond, Dorothy Horton, John Russell, William Faulkner

Writer(s)

Norman Macdonnell, John Meston

Music Direction:

Leith Stevens

Musical Theme(s):

Unknown

Announcer(s):

Clarence Cassell

Estimated Scripts or
Broadcasts:

Episodes in Circulation:

Total Episodes in Collection:

Provenances:

RadioGOLDINdex, Hickerson Guide, Martin Grams' Radio Drama.

Notes on Provenances:

The most helpful provenances were the log of the radioGOLDINdex and newspaper listings.

Nowhere, in any serious discussion or serious research of this fine, short series is the name "A Perfect Crime" associated in any way, shape or form with this production. Whoever started that anecdotal lore is simply in error.

The three auditions of the proposed The Man In Black are erroneously widely logged as auditions for The Black Book. While clearly The Man In Black was the format from which The Black Book eventually evolved, it's clear from actually listening to any of them that they're auditions for The Man In Black, not The Black Book. Why the series was renamed and reformatted as The Black Book remains to be disclosed, but the two formats are what they are--subtly similar and subtly distinct. The logs that refer to the three The Man In Black auditions as 'different readings' or hint at an alternate proposed name for the series as 'The Perfect Crime' are simply in error. They'd know that if they'd ever actually listened to any of them, Q.E.D. We realize it's somewhat heretical to suggest that otr loggers, especially, actually listen to the programs that they log, but there it is. We're heretics--guilty as charged.

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The Black Book Radio Program Log
Date	Episode	Title	Avail.	Notes
--	--	Title Unknown	Y	The Man In Black Audition
--	--	Title Unknown	Y	The Man In Black Audition 2
52-02-02	--	The Price Of the Head	Y	The Man In Black Audition 3 Program announces "A Rose For Emily" for next week.
52-02-17	1	On Schedule	Y	52-02-16 Syracuse Herald Journal - Sunday 4:15 Black Book. Program announces "My Favorite Corpse" for next week.
52-02-24	2	My Favorite Corpse	Y	52-02-24 Syracuse Herald Journal - 4:15 The Black Book. 52-05-24 New York Times - 4:15--WCBS--The Black Book. Program announces "Vagabond Murder" for next week.
52-03-02	3	Vagabond Murder	Y	52-03-02 Syracuse Herald Journal - 4:15 The Black Book. 52-03-02 New York Times - 4:15--WCBS--The Black Book. Program makes no announcement for next week.

The Black Book Radio Program Biographies

Paul Frees [Solomon Hersh Frees] (The Man In Black) Stage, Screen, Television, and Radio Actor, Composer, Songwriter, Voiceover Artist, Director, and Author (1920-1986) Birthplace: Chicago, Illinois, U.S.A. Education: *Chouinard Art Institute, Los Angeles, CA Radiography: 1945 Lux Radio Theatre 1945 Maxwell House coffee Time 1946 Rogue's Gallery 1946 The Whistler 1946 The Casebook Of Gregory Hood 1946 The Alan Young Show 1946 Suspense 1947 Escape 1947 The Voyage Of the Scarlet Queen 1947 Ellery Queen 1948 Studio X 1948 The Player 1948 Your Movietown Radio Theatre 1948 The First Nighter Program 1948 Family Theatre 1948 Let George Do It 1948 The Eternal Light 1948 Jeff Regan, Investigator 1948 NBC University Theatre 1948 The Railroad Hour 1949 The Adventures Of Philip Marlowe 1949 Prowl Car 1949 Screen Director's Playhouse 1949 The Prudential Family Hour Of Stars 1949 Rocky Jordan 1949 Pat Novak For Hire 1949 Special Care Program 1949 Box 13 1949 The Adventures Of Frank Race 1949 The Green Lama* 1949 Richard Diamond, Private Detective 1949 Four Star Playhouse 1949 The Croupier 1949 California Caravan 1949 Crime Correspondent 1950 T-Man 1950 A Day In the Life Of Dennis Day 1950 Dangerous Assignment 1950 The Line-Up 1950 Tales Of the Texas Rangers 1950 Presenting Charles Boyer 1950 This Is Your F.B.I. 1950 The Story Of Dr Kildare 1950 The Adventures Of the Saint 1951 Short Story 1951 The Adventures Of Sam Spade 1951 Night Beat 1951 The Whisperer 1951 Romance 1951 Wild Bill Hickok 1951 Mr Aladdin 1951 Broadway Is My Beat 1951 This Is the story 1951 The Silent Men 1952 Hollywood Star Playhouse 1952 The Black Book 1952 The Pendleton Story 1952 I Confess 1953 Gunsmoke 1953 On Stage 1953 Confession 1953 Crime Classics 1953 Mr President 1954 That's Rich 1954 The Edgar Bergen Show 1954 Rocky Fortune 1954 Fibber McGee and Molly 1954 Hallmark Hall Of Fame 1956 NBC Radio Theatre 1956 You Were There 1956 Yours Truly, Johnny Dollar 1956 Those Young Bryans 1957 CBS Radio Workshop 1957 Heartbeat Theatre	Paul Frees, ca. 1952 Paul Frees, ca. 1949 Paul Frees with one of thousands of alter egos, Ludwig Von Drake, ca. 1953 Paul Frees as Etienne in The Adventures of Jim Bowie (1957) Paul Frees, ca. 1975 Bust of Paul Frees ''The Man of A Thousand Voices'' circa 1978 Paul Frees in The Shaggy Dog (1978)	Count the ways to measure Multimedia genius, then double it, and you have Paul Frees. Several famous voice artists have been tagged "The Man of A Thousand Voices." During his ambitious, but brief career, Frank Graham was dubbed the same before his suicide death in 1950. Mel Blanc held that moniker for years. The late, great Don La Fontaine was another worthy recipient. But with all due respect to those other great voice artists, I'm sure all three would agree that Paul Frees remains rightful recipient of the tribute. Paul Frees is one of the top ten most memorable, most often heard, and hardest working voice talents of the 20th Century. Chicago-born Frees [birth name, Solomon Hersh Frees], was drafted into the Army during World War II, participating in the D-Day Invasion at Normandy. He was wounded in action and returned stateside for rest and recovery for just over a year. Upon obtaining his discharge, he began taking classes at The Chouinard Art Institute in downtown Los Angeles under his G.I. Bill. But his studies were curtailed when his first wife's failing health forced him to drop out and try his hand at Radio work. He appeared frequently on the A-List Radio programs of the 1940s, including Lux Radio Theatre, Rogue's Gallery, The Whistler, Suspense, Escape, Ellery Queen, The First Nighter, Family Theatre, and NBC University Theatre. His first solo outing was as The Player (1948) with Frees both narrating and playing all of the parts. He alternated with William Conrad as the 'voice' of both Escape and Suspense. His second solo outing was as Jethro Dumont in The Green Lama (1949), a summer replacement program. He followed that with a starring role in Crime Correspondent (1949). He also starred in The Croupier (1949). Frees' contribution to radio noir was a perfect match for his range of voices. He appeared regularly in most of the detective genre dramas of the 1940s. Throughout the 1950s he was heard voicing regular or recurring roles in Gunsmoke (1953), Crime Classics (1953), This Is Your FBI (1950), and two prestigious network classics, Hallmark Hall of Fame (1954) and CBS Radio Workshop (1957). Frees' radiography in the RadioGOLDIndex is one of the longest in its database. But Radio was only the tip of the iceberg in Frees' storied career. The Internet Movie Database (IMDB) cites over 370 entries for him, in Film, Television, and Animation. A college study once determined that so ubiquitous was Paul Frees voicework during the 1960s and 1970s, that there was literally not one day of Television or Radio during that period in which Paul Frees' voice was not heard over one medium or another. Frees spent much of the second half of his career working with an unprecedented nine of the major animation production companies of the 20th century: Walt Disney Studios, Walter Lantz Studios, UPA, Hanna-Barbera, Filmation, MGM Studios, DePatie-Freleng Enterprises, Jay Ward Productions and Rankin/Bass. His work with the Walt Disney Studios led to a long collaboration with them, from voicing animated characters to recordings that brought some of the most compelling attractions at both Disneyland and Disney World to life. His long association with Jay Ward Productions is most remembered for his narration of the Rocky and Bullwinkle Show, with William Conrad, and performing the voice of Boris Badenov, and multiple other characters. Accompanied by famous female voice talent, June Foray, their voices formed the very core of most of the Rocky and Bullwinkle episodes. There is simply not enough space in this format to adequately recount Frees' body of work. Fortunately the vast majority of his work is still available through Golden Age Radio and Television recordings. Frees passed away unexpectedly in 1986 at his palacial Tiburon home overlooking San Francisco--from a massive heart failure. He'd requested that his ashes be scattered over the Pacific Ocean. Anyone knowledgeable of 20th Century mass communications would unquestionably cite Paul Frees as one of the top ten voices over any medium from the era, perhaps even one of the top five. We'd certainly have to concur with either assessment.

John Dehner [John Forkum] (*Ensemble Performer) Radio, Television, Film and Stage Actor, Stage Director, Professional Pianist, News Editor and Commentator, Champion Fencer (1915-1992) Birthplace:* Staten Island, New York, USA Radiography: 1945 Dispatch From Reuters 1947 Family Theatre 1947 Voyage Of the Scarlet Queen 1948 Lassie 1948 Escape 1948 Let George Do It 1948 NBC University Theatre 1948 The Adventures Of Philip Marlowe 1948 The Whistler 1949 Screen Director's Assignment 1949 Screen Director's Playhouse 1949 Emotion 1949 Yours Truly, Johnny Dollar 1949 Suspense 1950 Romance 1950 Richard Diamond, Private Detective 1951 Short Story 1951 Pursuit 1952 The Black Book 1952 The Man Called X 1952 The Pendleton Story 1952 Wild Bill Hickok 1952 The Silent Men 1952 The Judge 1952 Gunsmoke 1952 Hollywood Playhouse Of Romance 1953 General Electric Theatre 1952 On Stage 1953 Bakers' Theatre Of Stars 1953 Rogers Of the Gazette 1953 Lux Radio Theatre 1953 Hallmark Hall Of Fame 1954 Crime Classics 1954 Stars Over Hollywood 1954 Inheritance 1954 Life With Luigi 1956 Fort Laramie 1956 CBS Radio Workshop 1958 *Frontier Gentleman* 1958 Have Gun, Will Travel 1973 Hollywood Radio Theatre 1979 Sears Radio Theatre Hollywood Notebook	John Dehner c. 1953 Walt Disney's Fantasia (1940) Fantasia Draft Illustration Walt Disney's Bambi (1942) John Dehner c. 1981	John Dehner began his career in the Media Arts not as an actor, but as an assistant *animator* for Walt Disney Studios, working on the classics, "Fantasia" (1940) and "Bambi" (1942), and on several Mickey Mouse cartoons. Born John Forkum on November 23, 1915 in Staten Island, New York, he was the son of an artist, consequently spending much of his youth throughout Europe. He returned to the U.S. in his teens and briefly tried his hand at stage acting. It was while working for the Walt Disney Studios as an assistant animator, that he volunteered for the Army. Indeed, during World War II served as a publicist for the Army covering the brilliant, flamboyant and quixotic General George S. Patton. Upon completion of his War service, he worked in radio for several years as a disc jockey, newsman, commentator and actor. He also performed as a professional pianist. But it was during 1945 that he made his Film and Radio debuts. A tall, striking looking man with a rich voice, penetrating blue eyes, and somewhat flamboyant demeanor, Dehner found himself most often cast as an outlaw leader, corrupt banker or saloon owner in westerns and adventure films. As adept in straight dramatic roles as in thriller, adventure, or detective dramas, it was in western adventures that he is most commonly remembered. Although his most ardent Radio fans will remember his numerous appearances in both light and heavy detective dramas of the late 1940s and early 1950s. His first leading role was in 1947's Voyage of The Scarlet Queen, but some of his most enjoyable and memorable character roles were in Let George Do It, The Adventures of Philip Marlowe, The Adventures of Sam Spade, and Richard Diamond, Private Detective. Indeed it was in the lighter detective dramas of the era that he showed a distinctive flair for both sardonic and flamboyantly comedic character roles. Though originally cast as Capt Lee Quince for the Fort Laramie audition, it was his friend Raymond Burr that assumed that role for the production run of the series. But Dehner remained part of the Fort Laramie ensemble, appearing in several roles throughout the production's run. Dehner's appearances in radio westerns were as numerous as his appearances in radio detective dramas. But it was the western genre that gave him leads as J.B. Kendall in Frontier Gentleman (1958) and as Paladin in Have Gun, Will Travel (1958). A highly esteemed and versatile character actor, his distinctive baritone voice--and timing--was instantly recognizable in whatever role he voiced in Radio. But in fact, throughout his Radio performing years he was just as active in Film and Television, appearing in over 280 films and television episodes between 1945 and 1988. Having mastered virtually every area of the Performing Arts--Animation, Musical Performance (Piano), Stage, Radio, Film and Television, John Dehner stands as one of the most versatile artists and performers throughout the Golden Age of each of the major Performing Arts. While a Los Angeles radio news reporter, editor and commentator, he garnered *KFWB* the covetted Peabody Award for his coverage of the first U.N. Conference on International Organization in San Francisco between 25 April 1945 and 26 June 1945. He was also voted "Best Radio Voice" by Radio Life Magazine. Indeed he became as much of a Renaissance Man in his chosen fields as the famous general he covered during World War II. John Dehner remains one of the 25 most fondly remembered and respected male actors of The Golden Age of Radio, leaving his mark on virtually every major Media endeavor of the 20th Century--in one capacity or another.

Virginia Gregg Burket (Ensemble Performer) Stage, Screen, Radio, and Television Actress; Professional Singer and recording artist (1916-1986) Birthplace: Harrisburg, Illinois, U.S.A. Radiography: 1942 Lights Out 1943 Wings To Victory 1944 Lux Radio Theatre 1944 Cavalcade Of America 1946 Play For Tonight (Audition) 1946 The Whistler 1946 The Rudy Vallee Show 1946 The Happy Prince 1947 Family Theatre 1947 Voyage Of the Scarlet Queen 1947 Deadline Mystery 1947 Ellery Queen 1948 The Unexpected 1948 Your Movietown Radio Theatre 1948 In Your Name 1948 The First Nighter Program 1948 Escape 1948 Diary Of Fate 1948 All-Star Western Theatre 1948 Let George Do It 1948 We Care 1948 The Adventures Of Philip Marlowe 1949 The Children's Hour, But Not For Children 1949 Screen Director's Assignment 1949 Pat Novak For Hire 1949 Screen Director's Playhouse 1949 Richard Diamond, Private Detective 1949 The Adventures Of Frank Race 1949 California Caravan 1949 NBC University Theatre 1949 Broadway Is My Beat 1950 Yours Truly, Johnny Dollar 1950 The Adventures Of Christopher London 1950 The Story Of Doctor Kildare 1950 Much Ado About Doolittle (Audition) 1950 Night Beat 1950 The Halls Of Ivy 1950 The Line-Up 1950 Tales Of the Texas Rangers 1950 T-Man 1950 Escape 1951 Dangerous Assignment 1951 Hallmark Playhouse 1951 Wild Bill Hickok 1951 Romance 1951 Dragnet 1951 The Silent Men 1952 Hollywood Star Playhouse 1952 Tarzan 1952 Hollywood Sound Stage 1952 The Hour Of St Francis 1952 Violence (Audition) 1952 Stars In the Air 1952 Gunsmoke 1952 This Is O'Shea (Audition) 1952 Guest Star 1952 I Was A Communist For the FBI 1953 Errand Of Mercy 1953 Suspense 1953 Rogers Of the Gazette 1953 Confession 1953 Stars Over Hollywood 1953 General Electric Theatre 1953 Hallmark Hall Of Fame 1953 The Freedom Story 1953 The Six Shooter 1953 Doctor Christian 1954 Crime Classics 1954 Fibber McGee and Molly 1954 You Were There 1954 Rocky Fortune 1954 Inheritance 1954 Life With Luigi 1954 Barrie Craig, Confidential Investigator 1945 CBS Radio Workshop 1956 Fort Laramie 1956 O'Hara 1958 Whispering Streets 1958 Frontier Gentleman 1958 Have Gun, Will Travel 1964 Arch Oboler's Plays 1979 Sears Radio Theatre Skippy Hollywood Theatre The Private Practice Of Dr Dana The Adventures Of Maisie	Virginia Gregg Artist entry from the October 1940 edition of Lew Lauria's Radio Artists Directory. Virginia Gregg in a 1940s publicity still Virginia Gregg in a 1950s publicity still Virginia Gregg with Dick Powell from their long-running detective drama Richard Diamond, Private Detective (1949) Virginia Gregg in a scene from Television's Adam-12 Virginia Gregg as Sheila Cromwell in the Perry Mason episode The Cautious Coquette Virginia Gregg as Mrs. Osborn in the Perry Mason episode The Pathetic Patient Virginia Gregg as Mrs. Osborn in the final scene of the Perry Mason episode The Pathetic Patient Virginia Gregg as Flo Oliver in the Perry Mason episode The Silent Six	Any article short of book-length couldn't do justice to Virginia Gregg's amazing, multi-faceted career. The following article from the Long Beach Press-Telegram, January 16, 1949 gets us headed in the right direction: Yours Truly, Virginia Gregg By Tom E. Danson Press - Telegram Radio Editor VIRGINIA GREGG looked anxiously at the clock's red sweep hand and drummed her fingers nervously on the studio table. Only one of her two male radio partners had appeared, and the morning show, "8:30 Clipper," was to go on the air in three minutes. Inexorably the hand that rules radio moved to "On the Air" and at this point the story should say that the third party of the little trio dashed in and saved the day. But he didn't. No, he woke up about air time and, realizing that he couldn't make it to the studio, snapped on the bedside radio and cozily listened to Virginia and Jimmy Barton struggle through the script without the listeners knowing the cast was one actor short. When the show finally staggered off at cue, the pixie partner at home called and congratulated Virginia and Jimmy on a swell job. And that's the way things have been going with Virginia ever since she left Jefferson Junior High School in Long Beach. Born in Harrisburg, IL, she came west with her parents at an early age and enrolled in the Fremont grammar school at Fourth St. and Termino Ave., in Long Beach. Her father, the late Edward W. Gregg, worked in the absorption –plant of an oil company on Signal Hill. It was while in the seventh grade at Jefferson High that Virginia remembers having the most fun. She loved sports and excelled as pitcher on the baseball team. Her specialty was a fast curve and Long Beach teen-agers had their own particular version of the tragedy of Casey-at-the-Bat when they stepped to home plate to face the blue-eyed Gregg gal with the super-duper pitch. Both of Virginia's parents are now deceased but a stepsister, Mrs. Mary Graves, Mary's husband, Don, and three lovely children, Donna, 10, Bobby, 8, and Judy, 6, live at 3561 Violeta St., Artesia. MISS GREGG'S debut in radio came in 1937, when she joined a musical unit at KHJ known as "The Singing Strings," a group that was widely copied. Virginia played the double bass; a talent acquired attending senior high school in Pasadena. As radio itself went through a transition from small musical groups to larger name bands just before the war, Virginia expanded her activities as an actress, and now she's heard on such dramatic shows as “The Count of Monte Cristo," "Let George Do It," "Casebook of Gregory Hood," the "Cisco Kid," "Red Ryder," "Family Theater" and "Straight Arrow." Others include "California Caravan," "Mayor of the Town," "Dr. Christian," "Front Page," "Whistler," "I Deal in 'Crime," "Lux Screen Guild," "Favorite Story." Motion picture credits for the lovely blue-eyed actress include "The Gay Interlude," "Casbah," "The Spiritualist" and "Body and Soul." Two years ago she married handsome and dashing Jaime del Valle, an Air Force major and one of the most highly regarded radio producer-directors in Hollywood. From a pioneer California family, his proud name is directly linked with that of Southwest history. His ancestors, Jose Antonio Carrillo, Ignacio del Valle and Juan Bandini settled here some 200 years ago. The "Old Town" outside San Diego, the original settlement of the newly arrived Spaniards, still shows the old Carrillo house, the first two-story structure in California. THE HISTORIC Rancho San Vicente, extending from the mountains through Beverly Hills to the sea near Long Beach was one of the del Valle family properties. Between them, the del Valle-Carrillo clan owned the largest single tract of land in grants from the King of Spain. Recently Virginia and Jaime announced the birth of a son, Gregg Bandini del Valle, and no one was prouder of his new relative than his cousin, Leo Carrillo, the movie star. Virginia is five feet seven inches in height, weighs 129 pounds. She has light brown hair and blue eyes. She prefers not to wear hats. Her favorite sports are tennis and swimming, with gardening and symphony music her major hobbies. She's not a club joiner, but she loves adventure books and enjoys the exotic dishes her husband prepares. On Thanksgiving, Christmas and other festive occasions he takes over in the kitchen. Possessed of some deep source of kinetic energy, Virginia gets keen zest from living and acting. She's one of the top dramatic personalities in Hollywood network radio because she is capable and alert. The incident of the "8:30 Clipper" in her early radio days was recalled recently when Virginia was cast on the "Family Theater"' show. It was a grade A production with Maureen O'Sullivan starring. Virginia was cast as Miss O'Sullivan's daughter. Suddenly the ingénue became ill just before airtime and Virginia was asked to do both roles, which she did with much success. "That was the first time in my life I played my own grandmother," she laughs. As Jack Webb himself might have said of the preceding article, "those are just the facts, Ma'am". But the visceral and subjective responses to Virginia Gregg's marvelous acting talent can't go without mention. The two most effective aspects of Virginia Gregg's amazing career were--for us, anyway--her Radio and Television performances. On Radio, Virginia Gregg showed a versatility and almost chameleon-like transformative ability that a mere handful of her peers of the era possessed. I think of Lurene Tuttle to be sure, and perhaps Irene Tedrow, Lilian Buyeff, Jeanette Nolan and certainly Betty Lou Gerson and June Foray. But I'll have to say that it's Virginia Gregg and Lurene Tuttle that, for me anyway, always seemed Radio's two most versatile, most believable, most resilient and most durable actresses from The Golden Age of Radio--or Television for that matter. We probably have at least 3,000 of Virginia Gregg's performances among our recordings from The Golden Age of Radio, and another 200-300 of her performances on Television. And yet, from Radio to Television, one is hard pressed to find a single flaw in any of her performances. An extremely attractive woman in her own right, Virginia Gregg never for a moment hestitated portraying less attractive female roles--either aurally or visually. One is reminded of the unbelievably vast range of characterizations she was called upon to perform in Radio--often three to five characters within the same script. Then one is equally reminded of the amazing way Ginny Gregg could sell an amazing range of Television characters, especially in shows such as TV's Dragnet, wherein a great deal of verisimilitude was demanded, given the almost documentary format of the series. From a barroom floozie to the frumpiest housewife, to the most elegant society matron, Virginia Gregg became precisely what the scriptwriter called for--and letter perfect each and every time. And beyond simply her career as an actress, in virtually every article--anecdotal or factual--that I've ever read about her, the accounts are always the same: Virginia Gregg remained an approachable, loyal, generous and non-judgemental friend to virtually everyone she worked with. Even extending that generosity to their families in most accounts. One anecdote in particular has always struck me. It's been reported by many observers of her on-sound-stage Radio demeanor that, irrespective of the complexity of the script before her--or how many roles she was to portray in it--Virginia Gregg would simply sit and knit until the instant she was required again. Then she'd simply complete a stitch, get up for her lines, perform them, then promptly return to her seat and pick up with the next stitch. Now that's poise--and preparation and raw talent. We've tended to pretty much sidestep her entire 45-Film movie career. But as is the triumph of Hollywood's most effective character actors, they did what they did on screen so effectively that they get somewhat overlooked. The films they support wouldn't be the same without them, but precisely because they sold their performances so effectively, they remain in the background. But indeed that's precisely what the truly great character actors throughout history have sought with their finest, most effective performances: to perform so seamlessly throughout the script that they become part of the set-dressing for either the lead actors of the arc of the script. But one particular performance deserves mention, albeit off camera: Virginia Gregg's absolutely terrifying screen voicing of the mummified mother in all three Psycho movies. And so it was that from her first Film appearance in 1947's Body and Soul to her last Film appearance in Psycho III (1986), Virginia Gregg continued to gain both critical acclaim, growing approval from her peers, and as loyal a body of character actor fans as ever existed. Deservedly so. Talents like hers and Lurene Tuttle's appear so rarely. When they do, we can't get enough of them. When they move on, we feel the void they've left in the Entertainment world. Such was the case with Virginia Gregg--a Radio, Television and Film treasure for all time. And thankfully a treasure we can all share for decades to come, through the miracle of The Golden Age of Radio and the wonderfully preserved kinescopes and films of her Television and Screen appearances over the years.

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