The Candy Matson Radio Program
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Natalie Park Masters' first recurring role was as Lois Liston in Hawthorne House (1935)
Announcement of 'Mad Masters' situation comedy starring Monty Masters and Natalie Masters and written by Monty Masters from July 5 1947
Dudley Manlove was the announcer throughout the Candy Matson series and later appeared as 'Eros' the alien from Plan 9 From Outer Space.
The San Francisco Opera Company star soprano referred to in The Devil and The Deep Freeze was Dorothy Warenskjold who appeared as herself.
The Fort Ord Soldier's Club as it would have looked to Candy Matson
Early Mission San Juan Bautista photo
The breathtaking altar of San Juan Bautista
View in The Valley of The Moon
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Background on the Distaff Detectives from The Golden Age of Radio
Candy Matson, in its various guises, was one of the ground-breaking lady detective anthologies from The Golden Age of Radio. Locally produced out of the KNBC studios in San Francisco, the series was produced, written and directed by Monty Masters and starred his wife, Natalie Masters, the former Natalie Park. One of only a handful of successful female-led radio noir detective dramas of the era, Candy Matson was the eighth attempt to launch a successful distaff gumshoe series over Radio. The known representatives of this tight knit Radio sorority were:
- Kitty Keene, Inc. (1937)
- Phyl Coe Mysteries (1937)
- Carolyn Day, Detective
- Miss Pinkerton (1941)
- Results, Inc (1944)
- Meet Miss Sherlock (1946)
- The Affairs of Ann Scotland (1946)
- Police Woman (1946)
- Candy Matson (1949)
- Sara's Private Caper (1950)
- Lady in Blue (1951)
- The Defense Rests (1951) [Defense Attorney (1951)]
We highlighted Results, Inc., since it was a partnership detective agency, with Claire Trevor more than holding her own with Lloyd Nolan. The most successful among this exclusive sorority was Kitty Keene, a serial that ran from 1937 to 1941. Phyl Coe Mysteries was more a promotional enterprise by the Philco Radio Corporation that ran for only the Fall quarter of 1937. Carolyn Day, Detective was a promising effort by Mary McConnell of Jump-Jump fame but apparently never made it beyond the audition phase. Miss Pinkerton and Results, Inc. were the more star-studded efforts, the first starring Joan Blondell and Dick Powell and the second starring the above mentioned Claire Trevor and Lloyd Nolan. Meet Miss Sherlock was an interesting concept, trading on Sherlock Holmes fame, but ran only a year. Arlene Francis played the lead in The Affairs of Ann Scotland, but the series petered out after a year or so. Police Woman was a somewhat grittier crime drama that aired in fits and starts over a year, starring Betty Garde. Sara's Private Caper was played pretty much for laffs and aired for only two months with Sara Berner in the lead. Lady In Blue was an interesting spin-off of a popular comic book character of the era and aired for some thirty episodes. The Defense Rests and Defense Attorney, basically the same vehicle, starred Mercedes McCambridge, arguably the most dramatically gifted artist in the sorority, but played more to the crime and courtroom aspects of the genre.
Candy Matson Stands Out from the Pack
Perhaps it's simply a parochial favorite, but by far and away the most entertaining of the lady detective genre was Candy Matson, of the vacillating telephone exchanges. The audition for the series found pert, lady-detective, Candy Matson, reachable at the EXbrook exchange, number 2-9994. By the time the series got the green light from NBC, Candy had moved to the YUkon exchange, number 2-8209, and in her last attempt to obtain good phone service she was found at YUkon 3-8309, the number she used for her final audition in 1952. Between those three years of phone service, clever young Candy Matson managed to captivate mostly west of the Mississippi audiences for almost 90 installments.
The creative husband and wife team of Monty Masters and Natalie Park had been entertaining mostly Bay Area audiences for almost fifteen years by the time they clicked with Candy Matson. Monty Masters had become an accomplished Radio actor, writer and producer in the San Francisco area and petite, blonde ball-of-fire Natalie Park had begun her own drama career with the Wayfarers Repertory of the San Francicso Little Theatre Group.
Monty Masters [Monty Mohn] had mounted several productions of his own in the Bay Area, including:
- Spotlight Playhouse (1946)
- The Eddy King Show (1947-48)
- Ready for Brady (1948-49)
- The Monty Masters Show (1948-49)
The Masters' first network success--as a couple--came with their moderately successful Mad Masters program over KNBC in 1947. A novel concept, the short-lived situation comedy found Monty Masters portraying a day-dreaming shoe clerk whose fantasies transport him to all manner of historic settings. Natalie for her part, portrayed his long-suffering love interest. Radio critic--and curmudgeon--John Crosby reviewed Mad Masters as follows, from the July 31, 1947 edition of the Oakland Tribune:
Weird Is The Word For Them
By JOHN CROSBY
One of the best tests I know for a comedy show is the amount of applause it generates. The quality of the comedy is generally in inverse ratio to the amount of applause. If the studio audience, those dutiful creatures, simply can't muster up a laugh, and heaven knows they try hard enough, then they pound the palms of their hands together.
You'll hear quite a lot of applause on a new show called the "Mad Masters" (NBC 4:30 p.m. Saturday), which originates in San Francisco. The "Mad Masters," an inexplicable title in the light of their type of comedy, are a married couple named Natalie and Monty Masters. They sound a lot like Ozzie and Harriet Nelson but behave more like Fibber McGee and Molly. "I'd better warn you before you step on — crash — that roller skate" is one of their gags. Well it's newer than the collapsible closet of the McGee's but it just isn't terribly funny. The Masters also have a doorbell that rings chimes, only their middle chime is busted. It just clinks.
A WEIRD CREW
The clink is heard quite often, introducing a set of characters who are weirder than those who enter the front door of the McGee's but not nearly so original nor so well drawn. One of the visitors was a salesman who referred to himself as "laughing boy" and with good reason. Right here, I'd like to interject the thought that there's nothing like laughter from the performers
to stifle it in the audience. An actor, laughing hysterically at his own jokes, produces an ennui almost hysterical in its intensity in the average theatergoer and there's no reason to suppose it hasn't the same effect on the average listener.
Another of the Masters' visitors is a Mrs. Abercrombie, one of those over-starched matrons who are almost unavoidable in comedy these days. She behaves about as you'd expect with a name like that. There were several other equally unpleasant characters whose names I've forgotten. The only reason for dwelling on the Masters at such length is the fact that they have rather fetching personalities and it seems a shame to waste them.
HELP WANTED
The plots of their little comedies are ingenious but the people who surround them are impossible. The scripts, I'm told, are written by Masters. I suggest not at all unkindly that he get a little assistance in that department and recast his show from the bottom up.
Not exactly a resounding endorsement, but at least a somewhat kinder, gentler Crosby piece for the era. His points were well taken and indeed, the series didn't see the year out.
The spark that ignited their greater success with Candy Matson came with the help and support of the cadre of Bay Area performers who'd worked with them during the 1940s. Raymond Burr, William Conrad and Jack Webb were prominent Bay Area actors of the era, often appearing repeatedly in each others' productions, mostly in the Jack Webb vehicles of the 1940s and 1950s, such as Pat Novak -- For Hire, Johnny Madero -- Pier 23, Jeff Regan -- Investigator, and One Out of Seven.
The Masters' originally conceived their detective program as a San Francisco-based radio noir project with a male protagonist. Natalie Park's mother persuaded Monty Masters to cast Natalie in the lead and make the protagonist a female detective. Wiser heads prevailed and Candy Matson was ultimately conceived as a no-nonsense, radio noir, female private investigator more than willing to trade on her looks and charms to solve her cases. Her two sidekicks in her adventures were Rembrandt Watson (Jack Thomas), an eccentric local photographer, and Lieutenant Ray Mallard (Henry Leff), a detective on the SFPD--and love interest. As with most auditioned series', the character names varied somewhat from their ultimate production scripts. Jack Thomas' 'Rembrandt' in the audtion was played a bit more recklessly, and Lt. Mallard's first name was Lee in the audition.
After the fine-tuning of the audition--and the green light from NBC--Candy Matson aired as 'Candy Matson, YUkon 2-8209', with expanded characterizations for both Rembrandt and Lt. Mallard and a somewhat 'friskier' Candy herself. The combination clicked. Monty Masters' snappy dialogue, regular references to Bay Area locations, sports teams, cultural attractions and historic landmarks made for a both entertaining and familiar local production.
The Jack Webb influence was unmistakeable. Jack Thomas' Rembrandt character smacked of Tudor Owens' various characterizations in Webb productions, 'Lieutenant Mallard' bore more than a passing remblance to Webb's more sympathetic Police associates over the years (Raymond Burr excepted), and the dialogue throughout the production was highly reminiscent of most of Jack Webb's efforts prior to Dragnet. But regardless of the influence, Monty Masters' scripts and dialogue remained entirely distinct--as a detective genre--from anything that had previously aired over network Radio.
The Masters' leaned heavily on their prior associations in the Bay Area, employing many of the actors that had appeared with Natalie Park and Monty Masters in Hawthorne House (1935) and their short-lived Mad Masters (1947). Indeed the series enjoyed something of an ensemble or repertory quality over the entire run. Recurring performers in various roles over the years were John Grover, Helen Kleeb, Hal Burdick, Lu Tobin and Mary Milford, among others. Dudley Manlove was the enthusiastic, fey announcer for the duration of the production series and Eloise Rowan provided the traditional organ underscore for the series.
The Masters', generous to a fault with their players, allowed both Jack Thomas and Henry Leff to fully develop their characters in the course of the production. Henry Leff performed double-duty in the world of Drama, both portraying Lieutenant Mallard in Candy Matson, as well as heading the Broadcasting Department at City College of San Francisco for over thirty-five years.
Candy Matson's one great failing was airing over NBC. As NBC did with all of its 'foster children'--its programs in search of a sponsor--it moved Candy Matson hither, thither and yon for its entire run. Even if a sponsor had expressed an interest in the program it'd have been hard pressed to even find Candy Matson from week to week to listen to it in the first place. NBC's favorite ploy of the era was to air a program a day ahead--and hours ahead--of its scheduled air date, then apologize the following day to it's growing body of avid Candy Matson fans that--oops!--there would be nothing to hear that night 'cuz we decided to air it last night, instead.' Absolutely ruthless programming practices, emphasizing sponsors and revenue over listening audiences--as listeners of NBC had come to expect in the mid to late 1940s.
In the final analysis Candy Matson YUkon 2-8209 was all about Candy Matson as portrayed by Natalie Masters. Natalie Masters' portrayal of Candy was an absolutely masterful match of actor to character. For the unvarnished critic, Natalie Masters clearly had her faults--often flubbing lines, misprouncing names, and missing a cue or two--or three. But her occasional mistakes simply added to the charm of the presentation. Indeed in spite of the obstacles NBC threw in the Masters' path, the surviving exemplars of the series are funny, informative, tongue in cheek, smart and snappy. Many of the plots were both twisty and clever. Natalie Masters clearly enjoyed voicing the numerous local references that made the series both more realistic and more interesting in the process--especially for California residents who'd never been able to spend time in the Bay Area. For Bay Area residents the constant references to local points of interest, sports teams, area lore, and characteristics of Bay Area sociology and culture had to have been all the more rivetting.
And of course there was Natalie Masters' smoky, sexy, provocative, and sultry voice and delivery. There was simply no other voice like hers in Radio--then or since. She may not have been at the height of her craft during her Candy Matson years, but she more than made up for it with her obvious delight in portraying her protagonist. Candy Matson was simply fun--pure, unadulterated fun--for both her audiences and her casts. Monty Masters' scripts for Natalie were almost intimate in their apparent accuracy to Natalie Masters' underlying personality. From all contemporary accounts, Natalie Masters' was in many ways the personification of her Candy Matson alter ego--generous, clever, feminist, humorous, cynical and driven. As an additional insider treat, the Masters' son, Topper, appears in at least one of the circulating exemplars--Jack Frost. The Masters clearly had fun with the series and their devoted audiences loved sharing the fun with them.
Rembrandt Watson, as portrayed by Jack Thomas, evolved markedly over the course of the production run as well. The audition for Candy Matson has Rembrandt cast as an eccentric local photographer with a debilitating drinking problem--a formula that worked spendidly for Tudor Owen in the various Jack Webb vehicles of the era, but which really wouldn't have suited Candy Matson. By the airing of the Candy Matson production run, Rembrandt had apparently gone on the wagon and stayed there for the duration of the run. This gave Jack Thomas the freedom to simply play to his character's inherent--and fascinating--eccentricities. Indeed, as something of a nod to the well-established homosexual community of the Bay Area, one can hear a subtle but consistent development of Rembrandt Watson as a more fey, yet competent and capable, characterization. This was simply yet another nod to the extraordinarily loyal local community in which Candy Matson aired.
Henry Leff, in his characterization of Lt. Ray Mallard, was allowed to introduce his own disarming eccentricities into the production--his idolization of western movie star 'Tex' Acuff, his love of local sports teams, and his rather transparent 'cluelessness' when it came to parsing out Candy Matson's continual romantic overtures to him over the course of the production.
The result of the Masters' generosity with their core casts resulted in a series with an ensemble flavor, which greatly contributed to its audiences identifcation with the recurring characters. Indeed, that's much of the charm of the series. The Masters' broke a lot of ground with their Candy Matson formula that wasn't immediately recognized while the program initially aired. The localization of the series, while making it all the more fascinating, probably contributed to its failure to find a national sponsor. The timing of the series was also against them. Major sponsors were abandoning Radio productions in droves, in favor of Television.
Of course hindsight is always 20/20. Woulda-coulda-shoulda has rarely ever been a valid excuse for a series' failure to attract a sponsor. But in the case of Candy Matson the excuse is sadly accurate, upon reflection. The Masters' very loyalty to their community was probably as much their own undoing as their loyalty to their cast and crew. Candy Matson was a very 'insider' series--for the Bay Area. Audiences with no appreciation for Bay Area locales, the complexity of the area's residents, or 'insider' references may have felt somewhat 'left out' in the process. But even if all of the insider references flew right over their heads, the Candy Matson scripts, their treatment of their lady-detective protagonist, and Natalie Masters' own spot-on characterization of Candy Matson was the key. As a no-nonsense, driven, relentless, yet incredibly clever and disarming female detective, as concerned with the seams of her nylons as with the complexities of her cases, she proved to be a compelling and refreshing alternative to the detective genre.
By way of full disclosure, we're big fans of Candy Matson--as well as of the Masters' themselves during this period of their collaboration, in any case. Indeed, though Candy Matson was an overwhelming local success, national success eluded the talented couple. Mad Masters was innovative, to be sure, but just didn't catch on. Candy Matson was even more innovative--and remains a marvelous treat for any listener, even seventy years hence--but never really caught on nationally either. Monty Masters apparently didn't respond well to the two perceived failures. The Masters' struggled to pitch--and eventually produce--a Television program of their own in 1951, Rumpus Room. The production broadcasts were delayed for two weeks, owing to a reported 'fall' that Monty Masters had experienced the night before the program's scheduled network premiere. As it turns out, Monty Masters had apparently been struggling for years with an alcohol problem, exacerbated by his repeated failure to mount a successful network production over Radio or Television. Rumpus Room aired four days a week as an afternoon comedy-variety program. The show folded after a couple of months.
Well liked by his peers throughout his career, Monty Masters' perceived failures appear to have affected him more deeply than they should have. Indeed, it was his loyal peers of the era--Jack Webb, Bill Conrad, and Blake Edwards--that kept Monty Masters gainfully employed during the waning years of his career--and life. Natalie Masters, for her part, equally well loved and respected, continued to perform with moderate success in Television well into the 1980s. After several second unit director or uncredited assistant director efforts in the mid-1960s, Monty Masters' failing health ultimately got the better of him. He passed away in 1969 at the age of 57--though he looked in his 70s. Natalie Masters survived him by almost twenty years, while aging very gracefully in the process.
There's no question that had Candy Matson ever gained a sponsor, it had all the elements of, for example, 'Sam Spade, Detective', to sustain it. Woulda-coulda-shoulda--the bedevilment of any number of worthy, truly innovative Radio efforts of the era. But in the case of Candy Matson all too true. With a more supportive network, who knows? Had it aired even three years earlier, who knows? Had the series dropped some of the many local insider references, who knows? Timing is everything. The Masters' for all their talent and innovation, were sadly about three years out of step with their more successful peers.
But all of that being said, Candy Matson remains one of the most prized elements of most vintage Radio collections--for good reason. It was smart, clever, innovative and ground-breaking. It gave a strong, sexy female protagonist an opportunity to assert herself in one of the handful of genuinely popular lady-detective vehicles to make their mark during The Golden Age of Radio.
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Series Derivatives:
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Candy Matson, EXbrook 2-9994; Candy Matson, YUkon 2-8209; Candy Matson, YUkon 3-8309 |
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Genre: |
Anthology of Golden Age Radio Detective Dramas |
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Network(s): |
NBC |
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Audition Date(s) and Title(s): |
49-04-04 [Aud] The Donna Dunham Case
52-09-21 [Aud] The Fortune Teller [The Allison Gray Case] |
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Premiere Date(s) and Title(s): |
49-06-30 01 The Donna Dunham Chinatown Case |
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Run Dates(s)/ Time(s): |
49-06-30 to 51-06-03; NBC; Ninety-one, 30-minute programs; Thursdays, 8:30 p.m., then Mondays at 9:30 p.m., then Fridays, Saturdays, Tuesdays, Mondays, and back and forth for the remainder of the run (see log below) |
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Syndication: |
NBC |
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Sponsors: |
Network sustained; Gallo Vineyards; Local sponsors |
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Director(s): |
Monty Masters, Dave Drummond, Paul Speegle; Bill Brownell and Julian 'Jay' Rendon [Sound engineering]
Clarence Stevens [Recording Engineer] |
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Principal Actors: |
Natalie Masters, Monty Masters, Henry Leff, Elvia Allman, John Grover, Helen Kleeb, Hal Burdick, Mary Milford, Dudley Manlove, Jerry Walter, Dorothy Warenskjold, Lu Tobin, Jackson Beck, Thomas 'Topper' Masters, Mary Barnett, Jane Bennett, Lucille Bliss, Val Brown, Hal Burdick, Herb Caen, Jack Cahill, Jack Carrington, Corporal David C. Case, Dick EIsiminger, Dick Ellers, Frec Gadette, John Grover, Clancy Hayes, Barbara Humphrey, Kenneth Langley, Bobby Lyons, Dee Marion, Ogden Miles, Mary Milford, Phyllis Newman, Edward Perry, Patty Pritchard, Stafford Repp, Barbara Ritchie, Norma Jean Ross, Sam Schatz, Paul Speegle, George Spelvin, Ethel Sterling, Jack Thomas, Norma Tourart, Jerry Walter, Jerry Zinnamon |
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Recurring Character(s): |
Candy Matson, Lieutenant Ray Mallard, and Rembrandt Watson. |
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Protagonist(s): |
Candy Matson, a private detective in San Francisco. |
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Author(s): |
None |
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Writer(s) |
Monty Masters |
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Music Direction: |
Eloise Rowan [organ]
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Musical Theme(s): |
"Candy" by Alex Kramer, Mack David and Joan Whitney |
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Announcer(s): |
Joe Gillespie, Dudley Manlove |
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Estimated Scripts or
Broadcasts: |
93 |
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Episodes in Circulation: |
14 |
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Total Episodes in Collection: |
15 |
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Provenances: |
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RadioGOLDINdex, Hickerson Guide, The Special Collections Department of the Thousand Oaks Library, Thousand Oaks, California, Jack French's Private Eyelashes; Radio’s Lady Detectives.
Notes on Provenances:
The most helpful provenances were the log of the radioGOLDINdex, newspaper listings and the papers of Monty and Natalie Masters at the Thousand Oaks Library.
There are precious few provenance anchors available to nail down the log for this series. The only announced anchor is the June 19, 1950 presentation of the 1950 Favorite Program Award by the San Francisco Examiner. Though presented during the recording session before the customary live audience in Studio A, the program actually aired on June 20, 1950. All of the Candy Matson programs were recorded before a live audience--for later broadcast.
We found only four plot provenances from newspaper listings. Only two of those lend support to the anecdotal titles in circulation. The Thousand Oaks Library has 81 of the scripts for Candy Matson within the Monty Masters papers housed there. The only provenances provided by those scripts are the proposed broadcast dates for each script. There are no confirmation annotations that those scripts aired on the projected broadcast dates--or not--nor are there given titles.
We can be reasonably certain as to the episode order and broadcast dates up to and including the June 20, 1950 broadcast, Symphony of Death. Beyond that point several militating factors make it increasingly difficult to track the remaining broadcasts from even newspaper listings. KNBC rescheduled Candy Matson six times during its last forty episodes. The newspapers rarely caught up with the movements until a couple of weeks later, by which time NBC would reschedule it yet again. The Hayward, California newspapers were listing Candy Matson as airing through June 2, 1951.
Given that the programs were recorded before a live audience, combined with NBC's often last-minute rescheduling of the actual broadcasts for the last forty episodes we find it implausible that the production staff would scramble around every week mailing or telephoning ticket holders for the live recording sessions to keep up with the rescheduling. It's far more plausible that the production simply continued to record the programs on a fixed weekly schedule, irrespective of NBC's numerous rescheduling changes. That wasn't the production staff's problem in any case.
Until we can obtain a more precise match between script dates and actual air dates, the last forty episodes of Candy Matson remain provisional for the immediate future.
We invite you to compare our fully provenanced research with the log from the '1,500 expert researchers' at the OTRR and their Candy Matson, Yukon 3-8309 log. We've provided a screen shot of their current log for comparison, HERE to protect our own further due diligence, content and intellectual property.
OTRisms:
- Note the continued misspelling of Episode No. 70, San Juan Batista. The correct, albeit anecdotal, title is San Juan Bautista. The Candy Matson series was noted, above all, for being scrupulously accurate as to prominent historical and cultural features in and around the San Francisco Bay area. Genuine 'researchers' would know that about the series.
- Note the connection between The Allison Gray Case and the audition for Candy Matson, YUkon 3-8309, which has anecdotally gone by the title, The Fortune Teller, for years throughout the 'commercial otr' community.
- Kilkenny Playground continues to be cited as the anecdotal title for what we cite as 'Angel's Camp' as provenanced by our San Mateo Times newspaper provenance of February 21, 1950. We have no other provenances to support that conclusion.
- Most loggers cite script dates and recording dates in lieu of broadcast dates, hence they cite, among several others, Symphony of Death as airing on June 19, 1950 versus its actual first air date of June 20, 1950. The recording can be anchored by the San Francisco Examiner's presentation of their Favorite Program Award for 1950 during the actual recording session on June 19, 1950, but the episode didn't actually air until the following day. There are several other 'anchored provenances' throughout our log, but we feel we've illustrated the most obvious shortcomings of basing a broadcast log on either scripts or recording session for a syndicated, transcribed Radio program--moreso when that research isn't one's own. The OTRRpedia log should more correctly be referred to as a script log, as the two genuine vintage Radio researchers, Jack French and Stewart Wright, would undoubtedly attest.
- And last by no means least, we have the most recent spate of idiots who are stereoizing every canon of vintage Radio that comes their way. Candy Matson is no exception. Needless to say, Candy Matson was never broadcast--or recorded--in stereo. If you receive any stereo renditions of the Candy Matson canon, ask for your money back.
What you see here, is what you get. Complete transparency. We have no 'credentials' whatsoever--in any way, shape, or form--in the 'otr community'--none. But here's how we did it--for better or worse. Here's how you can build on it yourselves--hopefully for the better. Here's the breadcrumbs--just follow the trail a bit further if you wish. No hobbled downloads. No misdirection. No posturing about our 'credentials.' No misrepresentations. No strings attached. We point you in the right direction and you're free to expand on it, extend it, use it however it best advances your efforts.
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