The Crime Club Radio Program
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Stewart Sterling (Prentiss Winchell)
Spot ad for Eno Crime Club from July 20 1931. The Eno Crime Club over CBS preceded Mutual's Crime Club by fifteen years.
Eno Fruit Salts was a turn of the century preparation for alleviating gas, hangovers and constipation.
Doubleday's Crime Club imprint 'crime man' graced the covers of their Crime Club selections from 1928 forward for almost 50 years.
Kathleen Moore Knight's Doubleday Crime Club selection from 1935 was Crime Club's first selection for the Air series.
Back cover of a 25th Anniversary selection indicating Doubleday Crime Club's classification symbols for their selections.
The Collins Crime Club imprint 'The Sign of A Good Detective Novel'
A Collins Crime Club selection Big Business Murder from 1935 with the Collins Crime Club imprint
Premiere spot ad for Crime Club from December 2 1946
Spot ad announcing change to Fridays from January 3, 1947
Crime club literary selections were all the rage during the first half of the 20th century. Doubleday was the first to form a literary Crime Club in 1928. Doubleday's distinctive 'Crime man' (left sidebar) was strategically imprinted on their Doubleday Crime Club selections. The Collins Publishing House in England had their Collins Crime Club launched in 1930, issuing Agatha Christie's first novel, The Murder of Roger Ackroyd, as one of their first selections. The Collins Crime Club imprint (left sidebar) announced its Crime Club selections as "The sign of a good detective novel."
Eno Fruit Salts, and the Columbia Basic Network joined forces in 1931 to air the Eno Crime Club. The program ran for two years over the Columbia Basic Network and for three years over NBC's Blue Network. During April 1933, the program was renamed Eno Crime Clues. The program ultimately left the air at the end of June 1936. The Eno Crime Club franchise was by way of a quasi Crime Club for Radio. No book tie-ins were ever associated with Eno Fruit Salts' sponsorship of the program. The program was, however, during its era viewed as a natural extension of the book club phenomena. Crime or mystery book clubs joined other monthly or quarterly selected book clubs for all manner of literary interests. Science fiction book clubs had been popularized as early as the 1920s, as well as romance fiction book clubs, supernatural thriller book clubs, and of course, childrens' book clubs.
Given their popularity, natural tie-ins to Doubleday Crime Club imprint selections were inevitable. The first medium to capitalize on the tie-in was Film. During the late 1930s, Universal Pictures struck a deal with Doubleday Crime Club to employ their imprint for a series of mystery films. Universal ultimately produced eleven such features:
- The Westland Case (1937)
- The Black Doll (1938)
- The Lady in The Morgue (1938)
- Danger In The Air (1938)
- The Last Express (1938)
- The Gambling Ship (1938)
- The Last Warning (1938)
- The Mystery of The White Room (1939)
- Inside Information (1939)
- House of Fear (1939)
- The Witness Vanishes (1939)
Crime club book selections and crime club Radio installments came together in the Mutual Broadcasting System's program, Crime Club, which first aired on Monday, December 2, 1946, in the slot previously occupied by Bulldog Drummond. Contrary to persistent 'otr myths', there was never any relationship whatsoever between either Eno Crime Club or Eno Crime Clues and Mutual's 1946 run of Crime Club. The Mutual Broadcasting System produced its own Crime Club series beginning in December 1946, a consequence of which the two 'Crime Club' programs are often conflated with each other or rolled into one long 'Crime Club' log. The two 'Crime Club' series' differed in any number of respects:
- The various Eno Crime Club programs aired over CBS and NBC. 1946's Crime Club aired over MBS.
- Many of Eno's various crime programs aired in multi-segment installments for the first year or so. Mutual's Crime Club aired once a week as a complete, stand-alone production.
- Eno's 1933 crime programs over NBC-Blue were accompanied by the artifice of an Inspector Spencer Dean and his sidekick, Dan 'Danny' Cassidy, shepherding the various segments of each two-part story from beginning to denouement. A resultant ''Manhunter Mysteries'' theme, employing Inspector Spencer Dean and Dan Cassidy exclusively, were reportedly later spun off as a West Coast production, ''Manhunter Mysteries with Stewart Sterling", airing in the early 1940s. Stewart Sterling and Arthur Miller were credited with the adaptations for most of the Eno Crime Club adaptations during the mid-1930s.
- Most self-evident of all, Eno's various crime club renditions were all sponsored--by Eno Fruit Salts. Mutual's Crime Club aired sustained for its entire run.
- While some of the Eno program serializations were inspired by or adapted from Doubleday Crime Club or Collins Crime Club selections, they were also adapted from other prominent magazine and pulp fiction serial installments of the era.
- When the Eno Crime Club moved to NBC-Blue, the production dispsensed with adaptations of pulp, magazine or book club selection material altogether. Prentiss Winchell, writing under the name, Stewart Sterling, began penning or adapting the remaining episodes of the Eno-sponsored series'.
- While initially airing over NBC-Blue as Eno Crime Club, it wasn't until its third month under the NBC banner that it changed its name to Eno Crime Clues, though most newspapers continued listing it as Crime Club for the remainder of its runs. Mutual's Crime Club retained the same name and format for the entirety of its run.
- When applicable, Mutual's Crime Club attributed every Doubleday Crime Club selection to its author, while deliberately avoiding any mention of the Doubleday Crime Club itself. The various Eno Crime Club derivations never credited any of the works they adapted on-air.
Mutual Broadcasting System's Crime Club of the air.
Crime Club's premiere presentation was adapted from a Doubleday Crime Club selection from 1935 titled, Death Blew Out the Match, by Kathleen Moore Knight, from her Elisha Macomber series. The second selection of the series was For The Hangman, by John Stephen Strange, first published as a 1934 Doubleday Crime Club selection. Mr. Smith's Hat, Crime Club's 9th episode was a Doubleday Crime Club selection from 1936, by Helen Kiernan Reilly, part of her Inspector McKee series. If you see a pattern developing here, it might appear that there was a tie-in between the Doubleday Crime Club and Mutual's Crime Club radio program. While there was never an explicit tie-in to the Doubleday Crime Club, it becomes clear that the selections employed throughout the series were predominately from the Doubleday Crime Club imprint canon.
Crime Club's selections weren't all of 1930s vintage. Episode No. 10, Murder Goes Astray, was a 1943 selection of the Doubleday Crime Club, by Mary Violet Heberden. Nor were all of the Crime Club episodes from the Doubleday Crime Club canon. Several of the Crime Club scripts were original stories penned by Stedman Coles, the adapter and scriptwriter for the series. Of the entire Crime Club canon of Radio programs, less than half of the 'Crime Club selections' were from a Print source. The remainder were overwhelmingly penned by Stedman Coles. The actual Doubleday Crime Club selections known from their circulating Crime Club exemplar titles are as follows:
- Death Blew Out the Match by Kathleen Moore Knight (1935)
- For the Hangman by John Stephen Strange (1934)
- Under A Cloud by Hilda Van Siller (1944)
- Mr. Smith's Hat by Helen Kiernan Reilly (1936)
- Murder Goes Astray by Mary Violet Heberden (1942)
- Flowers For the Judge by Margery Allingham (1934)
- Murder Solves A Problem by Marion Bramhall (1944)
- Call Me Pandora by Abbie Harris (1946)
- The Absent-Minded Professor by Aaron Marc Stein (1943)
- Fear Came First by Vera Kelsey (1945)
- Dead Man Control by Helen Kiernan Reilly (1937)
- The Grey Mist Murders by Constance and Gwenyth Little (1939)
- Death Cuts A Silhouette by D. B. Olsen (1939)
- Epitaph For Lydia by Virginia Rath (1937)
- The Corpse Wore A Wig by George Bagby (1940)
- Murder On Margin by Robert George Dean (1936)
- Hearses Don't Hurry by Stephen Ransome (1941)
- Death At 7:10 by Harry F. S. Moore (1943)
- A Frame For Murder by Kirke Mechem (1936)
There were in all likelihood at least five more actual Doubleday Crime Club imprint selections among the Crime Club canon, which would represent just less than half of the entire canon. The remainder of the stories used in Crime Club were penned by Stedman Coles.
It's not as if Mutual was coyly implying a connection with the Doubleday Crime Club. Indeed, the Doubleday Crime Club--as much as the Collins Crime Club, for that matter--were clearly benefitting from Mutual's weekly reminders to go to their nearest book store for the latest 'Crime Club' selections. In that respect it was probably a symbiotic relationship, and may be the reason that the Doubleday Crime Club was never mentioned anytime during the run of Crime Club.
Crime Club format and production history
Crime Club's program format and signature elements were consistent throughout the run, with the exception of programs originated by Stedman Coles. Actual Doubleday Crime Club selections were appropriately credited by author only. As indicated above, no mention was ever made regarding the publisher of the selections.
Raymond Edward Johnson was the first 'Librarian' for the series, followed by Barry Thomson for the remainder of the run. Since we have no access to Episodes 2 through 8 at present, we can't say precisely when Raymond Edward Johnson passed the Librarian duties to Barry Thomson. All we can say with certainty is that by Episode No. 9, Barry Thomson is heard as the Librarian.
For the premiere episode, Raymond Edward Johnson as 'The Librarian' opened the program in a manner very reminiscent of Inner Sanctum. At the close of the presentation for the evening, the Librarian for the Crime Club announced the credits to a phone ringing in the background. Upon finally answering the phone, the Librarian would announce the next presentation and encourage the 'caller' to listen in the following week. The announcer would then encourage the listening audience to hustle down to their favorite bookshop or library and obtain the latest 'crime club' selection.
By Episode No. 9, with Barry Thomson as the Librarian, the ringing phone element was presented at the beginning of each broadcast as well, serving as a device to frame both the prologue and epilogue of each presentation. Both Raymond Edward Johnson and Barry Thomson continued to appear in the cast of many of the subsequent programs.
As mentioned above, Stedman Coles adapted the majority of the scripts, with Wyllis Cooper and James Erthine filling in as needed. A WOR production, the series' various casts were comprised of some of the East Coast's finest Radio talent, most prominent among them, William Podmore, Irene Hubbard, Alice Frost, Elspeth Eric, Julie Stevens, Mason Adams, Bryna Raeburn, Jack McBride, Dan Ocko, Joe DeSantis, Lawson Zerbe, Al Hodge, Ted Osborne, Joseph Julian, Larry Haines, Chet Stratton, Walter Kinsella, Joan Alexander, Joan Tompkins, King Calder, Stefan Schnabel, and Myron McCormick.
Roger Bower produced and directed the vast majority of the programs with MBS stalwart, Jock MacGregor, filling in whenever needed. Though the series failed to attract a sponsor during its post-World War II run, it remains one of the more compelling MBS productions of its era. It was a natural lead-in for either Johnny Madero, Pier 23 or Quiet Please, that followed it in most MBS affiliate markets. MBS also had the good sense to leave it in the same timeslot for the vast majority of its run--Wednesday evenings, just before or after dinner-time in most households.
|AFRS R-Series 'Crime Club'
||Anthology of Golden Age Radio Mystery Dramas
||Audition Date(s) and Title(s):
||Premiere Date(s) and Title(s):
||46-12-02 01 Death Blew Out the Match
||Run Dates(s)/ Time(s):
||46-12-02 to 47-10-15; MBS [WOR]; Forty-Seven 30-minute programs; Mondays at 7 p.m., then Wednesdays at 6 , 6:30, or 7 p.m. [the program also aired in isolated markets on Thursdays or briefly on Fridays]
||Roger Bower, Jock MacGregor [Producer/Directors]
||Elaine Kent, Raymond Edward Johnson, William Podmore, Eleanor Phelps, Paul Hammond, Sherling Oliver, Barry Thomson, Sydney Smith, Helen Shields, Grace Coppin, Irene Hubbard, Cameron Prud'Homme, Alice Frost, Elspeth Eric, Helen Shields, Julie Stevens, Mason Adams, Bryna Raeburn, Elaine Kent, Jack McBride, Dan Ocko, Joe DeSantis, Lawson Zerbe, Al Hodge, Ted Osborne, Bill Smith, Barbara Joyce, Arthur Vinton, Joan Tompkins, Joseph Julian, Helen Shields, Larry Haines, Chester Stratton, Pierce Carlton, Reese Taylor, Walter Kinsella, Joan Alexander, Maurice Franklin, Reese Taylor, Joan Tompkins, King Calder, Bruce Smith, Arthur Vinton, William Quinn, Joan Constance, Bill Smith, Earl George, Virginia Dwyer, Stefan Schnabel, Peter Capell, Inge Adams, Murray Forbes, Ralph Camargo, Paul Hammond, Myron McCormick, Charlotte Lawrence, Jean Ellen, Alan Deavitt
||'The Librarian' [Raymond Edward Johnson and Barry Thomson]
||Kathleen Moore Knight, Helen Riley, Vera Kelsey, John Stephen Strange, Hilda Van Siller, Mary Violet Heberden, Margery Allingham, Marion Bramhall, Marion Bramhall, Constance & Gwenyth Little, D. B. Olsen, Virginia Rath, George Bagby, Robert George Dean, Robert George Dean, Stephen Ransome, Harry F. S. Moore, Kirke Mechem
||Stedman Coles, Wyllis Cooper, James Erthine [Adapters]
||Estimated Scripts or
||Episodes in Circulation:
||Total Episodes in Collection:
Billboard article of August 9th 1947 announces the end of Crime Club
|RadioGOLDINdex, Hickerson Guide.
Notes on Provenances:
The most helpful provenances were the log of the RadioGOLDINdex and newspaper listings.
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The Crime Club Radio Program Biographies
|Raymond Edward Johnson
("The Librarian" and Ensemble Performer)
Stage, Screen, Television and Radio Actor
Birthplace: Kenosha, Wisconsin, U.S.A.
Education: Goodman School of Drama, Chicago, IL
1938 Welcome Valley
1938 The Royal Desserts Hour
1939 Arch Oboler's Plays
1939 Great Plays
1940 Mandrake the Magician
1941 Inner Sanctum
1941 Behind the Mike
1941 Metropolitan Opera Auditions Of the Air
1942 Cavalcade Of America
1942 The Man Behind the Masterpiece
1942 Don Winslow Of the Navy
1943 Lights Out
1943 Treasury Star Parade
1943 Doctor Christian
1943 Radio Hall Of Fame
1943 Words At War
1944 The Pause That Refreshes
1944 The Kemtone Hour
1945 War Town
1945 The Radio Edition Of the Bible
1945 The Adventures Of Ellery Queen
1946 Treasury Salute
1946 The Eternal Light
1946 Murder At Midnight
1947 Crime Club
1947 Fibber McGee and Molly
1947 Treasury Agent
1947 The Gabriel Heatter Show
1947 Studio One
1947 Casey, Crime Photographer
1948 A Program About A Lot Of Things
1948 The Golden Door
1948 Gang Busters
1948 The Big Story
1948 Candid Microphone
1948 Ford Theatre
1948 Secret Missions
1948 You Are There
1949 Name Your Poison
1950 Crime Fighters
1950 Mysterious Traveler
1950 Cloak and Dagger
1950 Dimension X
1950 MGM Theatre Of the Air
1950 Chandu the Magician
1952 Best Plays
1953 American Jewish Caravan Of Stars
1953 Tales Of Tomorrow
1953 Twenty-First Precinct
1956 X Minus One
1961 Yours Truly, Johnny Dollar
The Lone Ranger
The Lonesome Train
Raymond Edward Johnson circa 1941
Raymond Edward Johnson with Arch Oboler circa 1947
Inner Sanctum spot ad from August 4 1944
Raymond Johnson -- stars in Oboler drama on Station WIBA tonight at 7:30.
Inner Sanctum spot ad from 1942
Raymond Edward Johnson . . . plays the star role 'Mr. District Attorney' tonight over Station WIBA at 8 o'clock
|From the September 16, 2001 edition of the The New York Times:
Raymond E. Johnson, Radio Host, Dies at 90
September 16, 2001
By RICHARD GOLDSTEIN
Raymond Edward Johnson, a versatile radio and stage actor who provided a signature moment for radio as the ghoulish host with the creaking door in the long-running "Inner Sanctum," died on Aug. 15 in Wallingford, Conn. He was 90.
Mr. Johnson was a familiar presence in the radio serials of the 1940's and won acclaim playing Thomas Jefferson in Sidney Kingsley's 1943 Broadway play "The Patriots." But he was best known as Raymond, the original host for the gothic tales of "Inner Sanctum," which made its debut in January 1941 and ran for 11 years, on NBC, CBS and ABC.
"I didn't have Leonard Bernstein and 200 musicians doing `The Ride of the Valkyries,' " Himan Brown, the director of "Inner Sanctum," remembered long afterward. "All I used was a creaking door. There are only two sounds in radio that are trademarked the creaking door and the NBC chimes."
After three bars of organ music, "Inner Sanctum" opened with the sound of Raymond turning a doorknob and then the creaking of rusted hinges. "Good evening, friends," intoned Raymond. "This is your host, inviting you through the gory portals of the squeaking door." Then came a gruesome joke, laughter intended to make his listeners shiver, and finally an improbable episode with ghosts and bloodcurdling sound effects.
When the stories featuring actors like Boris Karloff, Paul Lukas, Peter Lorre, Claude Rains and Raymond Massey reached their climax, Raymond offered another round of macabre laughter. Then he concluded the evening by wishing his listeners "pleasant dreams."
Mr. Johnson also played the lead role in "Don Winslow of the Navy" and "Mandrake the Magician" in his busy radio career.
In the summer of 1945, after four years of fan mail sometimes accompanied by oil cans for that creaking door, Mr. Johnson stepped down as host of "Inner Sanctum" and was replaced by Paul McGrath.
By then, Mr. Johnson had achieved success in his Broadway debut as Jefferson in "The Patriots," a tribute to democratic ideals in a wartime America fighting fascism.
While appearing in the play, he continued as the host of "Inner Sanctum" on Sunday nights.
In his review of "The Patriots" in The New York Times, Lewis Nichols wrote that Mr. Johnson "conveys excellently the various moods of Jefferson."
Raymond Edward Johnson was born in Kenosha, Wis., worked as a bank teller, and then studied acting at the Goodman School of Drama in Chicago. His sister, Dora Johnson Remington, who died in 1989, was a radio soap opera actress, best known for playing Evey Fitz, the married daughter in "Ma Perkins."
Mr. Johnson, who suffered from multiple sclerosis for many years, nevertheless revisited his starring years in radio in 1997, when he appeared at a gathering of the Friends of Old Time Radio. He delivered a reading from a portable bed.
His co-star on "Inner Sanctum" was not always a reliable presence, as Terry Ross, a soundman, recalled in telling how a young man setting up the equipment once tried too hard to please.
"We got the hinges and buried them in the dirt out back and watered them down like plants for a couple of weeks or so, till they got nice and rusty, then mounted them on the door a little bit askew, so they would squeak," Mr. Ross recalled in an interview for Leonard Maltin's "Great American Broadcast" (Dutton, 1997). "One of the setup boys came to me and said: `Terry, I fixed the door for you. I oiled the hinges.' This was just before showtime. What do you do when the signature of the show was a squeaky door?"
Mr. Ross became the door. He imitated its creak with his voice, and Raymond and the eerie plot did the rest.
Copyright 2001 The New York Times Company
Raymond Edward Johnson certainly never let any grass grow under his feet as he pursued one of Radio's most successful acting careers. One of Radio's busiest and longest appearing Radio actors, Johnson's radiography comprises many of the Golden Age of Radio's most popular and longest running programming.
From the July 19, 1947 edition of the Cumberland Evening Times:
''Raymond Edward Johnson left Inner Sanctum approximately two years ago to enter the service and upon his release declined to take over his former role in the mystery thriller. He believed that to continue might type him with other producers as a ghostly voice and hinder his chances of portraying lead characters. Currently he may be heard Saturday mornings over NBC as the father in Archie Andrews, in addition to frequent, appearances on ABC's Theatre Guild On The Air.''
When Raymond Johnson returned from the service, he understandably increased his efforts to distance himself from the supernatural thriller typecasting he'd been most associated with through both Arch Oboler's various productions and Himan Brown's successful Inner Sanctum series. He took the name "Raymond" with him, leaving his replacement on the series, Paul McGrath, to his own devicies.
Reinventing himself payed off, finishing out his last years performing over Radio in a wide variety of straight dramatic roles. Stricken with Multiple Sclerosis while in his forties, Johnson's appearances on the small screen were limited to a few appearances behind the scenes as a narrator. He continued to perform over Radio until the early 1960s by which point the effects of his disability forced his retirement from the acting profession.
As indicated in his obituary above, Raymond Johnson's Radio fans continued to make demands on him for the remainder of his life, in spite of the advancing effects of his infirmity. Indeed, while in his 80s and bed-ridden, the otr community prevailed upon him to appear at one of their otr selling conventions with a portable bed and help re-enact their favorite exemplars of his work. While this doesn't say a great deal about the commercial otr community that took grotesque advantage of his circumstances, it speaks volumes about Johnson's continued dedication to the memory of The Golden Age of Radio that he'd both performed in, and loved, for most of his adult working life.
It's that very sense of dedication and love of the craft of acting that endears so many of these great Radio performers to collectors of vintage Radio recordings. With an estimated 3,000 radio appearances to his credit, and hundreds of those exemplars in current circulation, Raymond Edward Johnson's extraordinary versatility as an actor, announcer, narrator, and personality of the era are increasing his avid fan base with each passing year.
|Sherman 'Jock' MacGregor
Singer, Songwriter, Radio, Stage and Television Actor, Radio Producer, Radio Director
1938 American Portraits
1942 Murder Clinic
1942 WOR Summer Theatre
1942 The Cisco Kid
1942 Just Five Lines
1943 The Adventures Of Raffles
1943 Nick Carter, Master Detective
1943 Beatrice Kay's Capers
1944 The Mysterious Traveler
1945 Brownstone Theatre
1945 The Sealed Book
1945 The Strange Dr Weird
1946 For Your Approval
1947 The Bitter Herb
1947 The Trojan Women
1947 Crime Club
1947 Did Justice Triumph?
1948 Stars Of the Air
1948 Meet the Stars
1948 Secret Missions
1948 Roger Kilgore, Public Defender
1953 Cavalcade Of America
1957 X Minus One
1957 Five-Star Matinee
Sherman 'Jock' MacGregor as Morris Fink, Grand High Exalted Mystic Ruler from The Honeymooners, ca 1956
The Grand High Exalted Mystic Ruler of the Bensonhurst Chapter of the International Order of Friendly Sons of the Raccoons Makes His Entrance
|Sherman 'Jock' MacGregor was one of The Mutual System's most successful producers and directors during The Golden Age of Radio. MacGregor began his career in Radio as a singer, heard over Radio as early as 1926, singing mostly minstrel songs and dressed for public appearances of his minstrel act in traditional Highlander garb--kilts and all.
Ever the thrifty Scot, Jock MacGregor was quoted in 1927 as boasting that he and his new bride saved the expense of a honeymoon at Niagara Falls by simply listening to its roar over a broadcast on Radio. One of MacGregor's contemporaries, 'Sir' Harry Lauder was often heard singing tradional Highland songs over the early Enna Jettick Melodies program (1929). Contemporaneous newspaper articles often favorably compared Jock MacGregor to the more famous Sir Harry Lauder.
Apparently both loved and respected for his early Radio work, the famous pioneering Radio station KDKA (Pennsylvania) devoted an entire prime-time, 15-minute program to MacGregor on August 31, 1936 as an on-air Farewell Party for him. By 1938 he was producing and directing many Radio programs for NBC-Blue [WJZ] as a staff director and writer.
But it was Jock MacGregor's move to the Mutual Broadcasting System's flagship station, WOR that ultimately afforded MacGregor the latitude and artistic freedom that made him famous. Beginning with WOR Summer Theater (1942), MacGregor was soon writing, directing and producing WOR staples such as The Cisco Kid (1942), The Adventures of Raffles (1943) and Nick Carter, Master Detective (1943-1953). Indeed it was while producing Nick Carter that Jock MacGregor first teamed up with the famous fiction writing team of Robert Arthur, Jr. and David Kogan. That same team would soon produce many Nick Carter programs together, as well as the long-running The Mysterious Traveler (1943-1952), The Sealed Book (1945), and several episodes of The Strange Dr. Weird.
The team's success producing The Mysterious Traveler was cut short when the series was abruptly cancelled by WOR during the infamous witch-hunts of the HUAC blacklisting years. With the successful team broken up, MacGregor continued producing and directing several Radio programs and early Television programs, occasionally appearing as an uncredited actor.
MacGregor produced the successful Inheritance (1953), X Minus One (1957) and Five-Star Matinee (1957) programs for competing networks. During the 1950s Jock MacGregor returned to his acting roots appearing in both Stage productions and Television. MacGregor also helped produce the James Cagney feature Shake Hands with The Devil (1959).
The late 1950s and early 1960s found him both acting in Television and producing Television features in Great Britain. MacGregor's last notable appearance on Television was as Jed Morgan in The Wahoo Bobcat (1963), a Walt Disney Presents television episode.
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