This is not really the third broadcast of the famous James Thurber story on Suspense. It is a re-imagined production that uses the earlier script from a dozen years earlier as a base, then takes a new look at the themes and makes substantial changes in the way it is presented. This script is adapted from the original Thurber short story by Fran van Hartesveldt, was a veteran radio scripter. He wrote for Great Gildersleeve, Roy Rogers Show, Father Knows Best, Sky King, CBS Radio Workshop, and others. It is not known if the idea of reworking the script was Von Hartseveldt’s, or Ellis’, or Froug’s. Whatever the case, it is a superior retelling of the story than the earlier productions because of the innovations.
The short story made its debut in The New Yorker of January 10, 1942. The 1943 and 1944 Suspense productions followed the published story very closely, which can be seen in its dialogue. The story was appeared in many anthologies, and can be viewed at https://archive.org/details/in.ernet.dli.2015.69215/page/n47/mode/1up
The early Suspense productions can be described as “passive.” Much of the story is narrated by Bess, the wife of the main character. The 1956 production, however, is more “active.” There are dream sequences of Harry, the husband, and Aaron Burr. They deliver a much better understanding of the frame of mind and the psychological issues that Harry has. The production is more engaging, more interesting in its dialogue, and even has a surprise ending. Thurber somewhat implied this ending in the short story, or at least created doubt concerning the possibility of it. The 1956 ending is more explicit. (The ending is not particularly fair to Bess, and is a small step in the direction of Yellow Wallpaper and I Saw Myself Running, but is not ruled out in the short story). The straying from the original Thurber story here and there seems to make it better and more effective for the Suspense audience.
It could be said that the 1956 production is more “modern.” While reading might be the best step in developing imagination, and radio’s imagination is assisted by engaging more senses (as a crutch? an enhancement that brings imagination to a higher and richer level?), this production certainly illuminates the story. After using the effects deployed in I Saw Myself Running, it is understandable that they might try them here. The audience expectation for such effects and approaches in radio dramas had been increased over the years, and was possibly built around the idea that radio needed them to compete with television. There is a newness to this production that makes it stand apart from the earlier ones.
These are some of the differences:
The previous productions two started with Bess introducing the situation, then followed by the couple having breakfast and Harry talking about the dreams. The 1956 production skips Bess’ introduction and goes directly into the breakfast conversation. Details are provided in the dialogue that follows, but this approach changes the focus of the drama right at the beginning. The previous “passive” productions relied on Bess to tell the story. This new, “active,” production focuses much more on Harry as we participate in his dreams and have a stronger sense of his motives.
Conversations were updated to reflect news topics of the mid-1950s, such as atomic bombs, different medical options, and others.
3:45 is when the first dream sequence begins. We get a real sense of what Harry’s dreams as they happen. The listener is a bystander in the event, but the effects have us in the presence of Harry and Burr. In the prior productions, these were described after they occurred, at arms length, and we could doubt what happened. With this approach listeners are there when they happened.
5:45 is the second dream sequence, and Bess wakes Harry up. The intensity of the experience is more clear, especially how it affects Bess.
8:35 finds Harry and Bess at the doctor’s office. Unlike the earlier productions, Bess says Harry dreams about Burr and Hamilton. This not mentioned in the encounter in those productions. There, she only mentions the death of his brother being killed in a cemetery. Both are mentioned here. In this version, the doctor mentions the tests he will be doing, rattling a list of them off as the scene fades. The results turn out to be fine. Harry gets a prescription to help him sleep. There is no such direct dialogue in the original, just that there were generally healthy results, and mentioned in passing.
10:25 offers another dream sequence. It is quite good as Harry and Burr argue, and convincing with historical references. In the original, some of these are reported in passing as husband and wife talk, but here it’s Harry and Burr verbally sparring.
14:00 has Harry and Bess visiting friends, the Crowleys, in Connecticut. This is an extended section that really adds to the story. There is a newly added private conversation between the husbands. In the original, a target shooting session is recounted by the wife and Bob Crowley. This time, it is enacted as a scene with just Bob and Harry.
18:45 provides another dream sequence with Harry and Burr; it is more intense. Harry can’t sleep so he goes outside. The Crowleys soon hear Harry doing some early morning target practice, much to the annoyance of neighbors. The conversations at the Crowley house are more detailed than the first broadcasts.
In general, and at this point in the story, the conversations between Harry and Bess become more emotional and detailed than in the original.
23:45 has the dream sequence has Harry pacing off the duel.
24:30 has the final scenes of the story. Harry is dead and their physician is there with a policeman (played by Larry Thor, of course). In the closing dialogue, the doctor and policeman end the story with important details, and a surprise ending about what happens to Bess. This is only barely implied in the first two broadcasts and is limited to the doctor muttering to himself. In this production it is very clear what happens next.
The details of the prior broadcasts and background of the story are at these resources:
1943-08-03 Robert Young
https://suspenseproject.blogspot.com/2023/02/1943-08-03-friend-to-alexander.html
https://archive.org/details/TSP430803 and is where recordings can be downloaded or streamed.
1944-06-15 Richard Whorf
https://suspenseproject.blogspot.com/2023/04/1944-06-15-friend-to-alexander.html
https://archive.org/details/440615 and is where recordings can be downloaded or streamed.
IS THIS AN INSIDE JOKE BY THURBER? Why did Thurber pick the names “Harry” and “Bess” for the married couple? They are the same names as Erich and Beatrice Weiss, otherwise known as Harry and Bess Houdini!
Many thanks to Christine Miller’s blog about Suspense and Escape. She noted the changes in the 1956 production, which is where I first learned about them.
LISTEN
TO THE PROGRAM or download in FLAC or
mp3
https://archive.org/details/TSP560815
THE CAST
John Dehner (Harry Andrews), Paula Winslowe (Bess Andrews), Ben Wright (Aaron Burr), Charlotte Lawrence (Alice), Victor Rodman (Dr. Fox), Miriam Wolfe (Woman), Joe Kearns (Bob Crowley), Larry Thor (Policeman), George Walsh (Narrator)
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