“Froggy” and his annoying voice starts the story by talking to the woozy Tom Cochran who obviously had a really tough night. It seems he’s being set up for a murder and his recollection of “singing walls” while he was out of it seems vague and confusing. Denny is his police friend who is trying to figure what it all means before the framing of Tom is complete.
The gravely voice that some listeners say sounds like a frog is the first hint we have that this character is up to no good. When a radio play involves that kind of distinctive voice early in the presentation, it’s bound to be a key part of the plotline. Unlike film or video, casting voices that can be easily discerned by listeners is essential. In visual media, the audience has more information before them to tell characters apart.
This is a Cornell Woolrich (originally titled C-Jag from the October 1940 issue of Black Mask) and adapted by Robert L. Richards. Woolrich stories seemed perfect for Suspense (and also Molle Mystery Theater). He was so prolific that it seemed there was always some kind of Woolrich story on the air.
LISTEN
TO THE PROGRAM or download in FLAC or
mp3
https://archive.org/details/TSP430902
THE CAST
PRESTON FOSTER (Denny), DANE CLARK (Tom Cochran), Ken Christy (Froggy / Cab Driver), Harry Lang (Larry the bartender), Eddie Marr (Joe), Gloria Blondell (Mildred), Leo Cleary (Clerk), Jim Bannon (Man in Black)
Gloria Blondell was the younger sister of actress Joan Blondell. She was an active radio actor, including Philip Marlowe, Johnny Dollar, Gildersleeve, and others. She was in the TV version of Life of Riley as Honeybee Gillis.
Ken Christy was one of those “it’s that guy… in that thing…” actors in movies, usually playing police officers. He was one of those background players who always had a regular paycheck but was often uncredited in movies and radio. In a 1950 interview he complained he was playing officers so often that he would enjoy being on the opposite side of the law now and then. A character actor, he’s the “frog voice” in this production. Well, at least he could play criminals on radio. The more manipulations to your voice you could make, the more work you could get on radio.
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