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Original Streamlined Shakespeare header art

The Streamlined Shakespeare Radio Program

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Charleston Daily Mail article of July 25 1937 discussing the Shakespeare offerings of both CBS and NBC for the summer
The Charleston Daily Mail article of July 25 1937 discussing the Shakespeare offerings of both CBS and NBC for the summer.

     Following Columbia Broadcasting System's announcement of their intention to do a summer series of Shakespearean plays, NBC caused an uproar when they announced they would also do a Shakespeare series to be aired during the same time as that of its hated rival.  Though CBS claimed previous rights to the idea, NBC pointedly ignored the matter and amid the clashes of both ethics and temperament, Streamlined Shakespeare went into production.
     Though Columbia announced its series Shakespeare Cycle first, NBC beat them to the airwaves.  John Barrymore was signed to do the series of six 45-minute broadcasts, capitalizing on the notoriety of the reunion of Mr. and Mrs. John Barrymore along with their success  as Caliban and Ariel the previous year. 
     Despite beating CBS's Shakespeare Cycle to the airwaves by three weeks, NBC's Streamlined Shakespeare was not nearly as well received.
     From the 37-107-10  Winnipeg Free Press RADIO Flashes column:
         "NBC's Streamlined Shakespeare won little praise, much panning.  The critics' reaction to "the startling, revolutionary innovation" of having Barrymore play the parts of Hamlet and the Ghost in "Hamlet" was that there was too much Barrymore, not enough Shakespeare.  Variety, according meagre space to the premier referred to John as "Mr. Elaine Barry."  As the duel developed, growing more bitter and more ambitious daily, the suggestion was revived that the Bard's tomb be filled with roller bearings that he might turn over faster and with more ease."

NBC revived the 1937 series thirteen years later in a retrospective they titled, John Barrymore and Shakespeare, a short, end of Summer series of four, 30-minute presentations, excerpted from four of the programs from the 1937 canon: Macbeth, Hamlet, Richard III and Twelfth Night.

From the August 1, 1950 edition of the Wisconsin State Journal:

Bill Doudna's

Names in the News

SHAKESPEARE:  Selected passages from "Macbeth," chosen by the late John Barrymore and recorded by him and other actors, will inaugurate NBC's special four-program series "John Barrymore and Shakespeare" at 7 p.m. Thursday on WIBA.  The series is being presented at the suggestion of Anthony Quayle, director of the Shakespeare Memorial theater at Stratford-on-Avon, and of George Hume, general manager of the theater and the Shakespeare festival.

     "John Barrymore and Shakespeare," which will include selections from "Richard III," "Hamlet," and "Twelfth Night" in later programs, will be taken from broadcasts made by Barrymore in 1937, five years before his death.  Transcriptions of the original broadcasts have been tape-recorded for the new program.     The series has been prepared for rebroadcast by James Fleming, editor of NBC's program, "Voices and Events."

And then we have yet another retrospective assessment of Streamlined Shakespeare from Radio critic and curmudgeon, John Crosby from the August 17, 1950 edition of the East Liverpool Review:

Radio In Review
 Thumbs Up, Thumbs Down
 RADIO DOESN'T GO IN FOR revivals very often, so it's rather surprising to come upon two of them at once--one altogether satisfactory, the other altogether deplorable.  Information, Please is being given a four-week experimental run on four stations--WOR in New York, KNBC in San Francisco, WIRA in Madison, WIs., and WGY in Schnectady.  And N.B.C., by popular request--it says here in a press release--is trotting out those old John Barrymore transcriptions of Shakespeare.

     James Fleming, who edited the 13-year-old Barrymore programs, explains apologetically:  "The broadcasts were not intended as streamlined versions of the plays.  Rather, they were Barrymore improvising around Shakespeare".

       They certainly were.  Mr. Fleming should have pointed out, too, that the original programs were part of that endless C.B.S.-N.B.C. feud.  C.B.S. had lined up Burgess Meredith for what it claimed was to be the first Hamlet ever heard on the air.  N.B.C. then hurled John Barrymore against Mr. Meredith--same time, same day (June 24, 1937), same play.  Mr. Barrymore, as I recall, won the decision by a handsome margin.

      IT'S DIFFICULT to tell how good the original broadcasts were, though there are grounds for suspicion that they were pretty bad.  For one thing, Mr. Barrymore had little experience with microphones.  His tendency to creep up on the mike and bellow into it from a distance of two inches was so bad the engineers had to build a fence around it to keep him at a proper distance.

     At any rate, the revival resembles neither Mr. Barrymore, nor Shakespeare.  The transcriptions were made in New York over a 3,000-mile hook-up from  Hollywood, which was no where as free of electrical disturbances as it is now.  Also, the art of transcription has improved immeasurably since 1937.

     Whether the fault lay with the 1937 engineers or the 1937 Barrymore, or a combination of both, the fact remains that the great voice--one of the finest vocal instruments of all time--came through without a trace of its usual distinction.

     At its best--and I'm not exaggerating--it sounded like Adolph Menjou imitating Fredric March imitating John Barrymore imitating himself.  At its worst...well, never mind.

     In Mr. Barrymore's defense, I ought to say that neither he nor the Bard could compete successfully against the sound effects dubbed in by Mr. Fleming.  They consisted largely of a kettle drum and some terrifying wind effects which must have been left over from some N.B.C. drama about a tornado.

     I was one of the comparatively few persons at the opening of Mr. B's last stage appearance in that lamentable enterprise, Mr. Dear Children, where the great man was exhibited more or less like a trained bear.     Well, I'm sure the trained bear in this instance was having as much, if not more, fun as the people who paid their shilling to see him.  I felt the exhibition was a grave error in taste.  I feel the same about this new revival.  Mr. Barrymore should be left at rest to gather the dust of legend.  If they disinter him many more times, there won't be any legend.  If you're still interested, he'll be doing Richard III tonight at 8 on N.B.C.

Series Derivatives:

John Barrymore and Shakespeare [1950]
Genre: Anthology of Golden Age Radio Shakespeare Plays
Network(s): NBC Blue Network
Audition Date(s) and Title(s): None
Premiere Date(s) and Title(s): 37-06-21 01 Hamlet
Run Dates(s)/ Time(s): 37-06-21 to 37-07-26; NBC Blue Network; Six, 45-minute programs; Mondays, 8:30 p.m.
Syndication: None
Sponsors: Sustaining
Director(s): John Swallow, Marvin Young
Principal Actors: John Barrymore, Elaine Barrie, Erin O'Brien, Spring Byington, George F. Stone, Mary Forbes, Miles Mander, Hans Conried, Brandon Hurst, Frederick Shields, John Deering, Charles O'Neill, Fred MacKaye, Stanley Farrar, Hanley Stafford, Henry Hunter, Nancy Leach, Miles Mander, Buddy Edwards, Fred MacKaye, Vinton Hayworth, Russell Simpson, Lou Merrill,
Recurring Character(s):
Protagonist(s): None
Author(s): William Shakespeare
Writer(s) John Barrymore, Forrest Barnes [Adapters]
Music Direction: Will Pryor
Musical Theme(s): Unknown
Announcer(s): Gayne Whitman
Estimated Scripts or
Episodes in Circulation: 2
Total Episodes in Collection: 1
RadioGOLDINdex, Hickerson Guide, Martin Grams' Radio Drama.

Notes on Provenances:

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

We invite you to compare our fully provenanced research with the '1,500 expert researchers' at the OTRR and their Steamlined Shakespeare log. We've provided a screen shot of their current log for comparison, HERE and HERE to protect our own further due diligence, content and intellectual property.

Digital Deli Too RadioLogIc


Judging by the OTRR's postings, the very rare exemplar of Streamlined Shakespeare listed from our own collection below is just one of several thousand Golden Age Radio exemplars over which the OTRR has simply thrown up their hands and relegated to their ''Singles and Doubles Collection.'' They have it mislabeled there as John Barrymore Theater, or some such. As best as we can tell, there are literally hundreds of genuinely historic Golden Age Radio exemplars in that catchall collection of theirs--exemplars that deserve far better than to simply be cast aside that way.

Martin Grams' $90 Radio Drama tome cites the following misinformation regarding NBC's Summer of 1950 retrospective presentation titled, John Barrymore and Shakespeare, from NBC's 1937 Streamlined Shakespeare series, as follows:

  • In his narrative, Grams cites five excerpt presentations from the 1937 Streamlined Shakespeare canon. There were in fact only four.
  • Grams cites a five-episode John Barrymore and Shakespeare series premiering on August 3, 1950 and ending on August 31, 1950. The program actually ran from August 3, 1950 through August 24, 1950. There was never a fifth presentation, The Tempest, on August 31, 1950. NBC announced the August 24th presentation of John Barrymore and Shakespeare as the last of the short series.

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The Streamlined Shakespeare Radio Program Log

Date Episode Title Avail. Notes
37-06-21 Winnipeg Free Press
NBC P.M. 8:30--John Barrymore's Shakespeare--"Hamlet." WJZ, KFYR, WHAM, WENR.
Richard III
37-06-28 Kokomo Tribune
John Barrymore and his wife, Elaine Barrie Barrymore, will be heard as a radio team when they co-star in the NBC Streamlined Shakespeare version of "Richard III," Monday at 7:30 p.m. over the NBC-Blue network. Barrymore will take the title role and the role of Ann, sorrowing widow whose husband was murdered by the crippled Richard, will be played by Elaine. This will be the first dual role of the Barrymores in drama.
37-07-05 Circleville Herald
"Macbeth" with John Barrymore. NBC. Shakespeare series dramatization.
The Tempest
37-07-12 Lima News
John Barrymore and his wife, Elaine Barrie, will play Caliban and Ariel, the leading roles in "The Tempests," fourth in NBC's streamlined Shakespeare presentations, over WJQ from 8:30 to 9:15 p.m.
Twelfth Night
37-07-19 Lowell Sun
9:30--John Barrymore's Shakespeare, "Twelfth Night," incidental music, direction Will Prior. Elaine Barry, Erla O'Brien Moore, Spring Byington, George F. Stone, supporting cast.
The Taming Of the Shrew

37-07-26 Hamilton Daily News Journal
The WJZ-NBC chain will present the last of six broadcasts with John and Elaine Barrymore in "Taming of the Shrew."

The John Barrymore and Shakespeare Radio Program Log [1950 Retrospective]

Date Episode Title Avail. Notes

50-08-03 Wisconsin State Journal
7 p.m.--John Barrymore and Shakespeare (WIBA): passages from "
MacBeth," recorded by Barrymore and other actors; first of four-week series.
50-08-10 Wisconsin State Journal
7 p.m.--John Barrymore and Shakespeare (WIBA): passages from "
Richard III
50-08-17 Wisconsin State Journal
7 p.m.--John Barrymore and Shakespeare (WIBA): scenes from "
Richard III."
Twelfth Night
[Last Episode]

50-08-24 Wisconsin State Journal
7 p.m.--John Barrymore and Shakespeare (WIBA): as Mavolio and Sir Toby Belch in "
Twelfth Night;" last of series.

The Streamlined Shakespeare Radio Program Biographies

John Barrymore [John Sidney Blyth(e)]
(Hamlet, Hamlet's Ghost, Richard III, Macbeth, Caliban, Malvolio, Feste,Petruchio)

Stage, Screen, and Radio Actor; Screenwriter

Birthplace: Philadelphia, Pennsylvania, U.S.A.

Education: Georgetown Prep School; Kings College; New York Art Students League

1935 Shell Chateau
1936 Hotel Hollywood
1937 Streamlined Shakespeare
1937 John Barrymore Theatre
1938 Texaco Star Theatre
1940 The Chase and Sanborn Program
1940 The Rudy Vallee Sealtest Show
1940 Gulf Screen Guild Theatre
1941 It's Time To Smile
1945 Guest Critic Series
1954 Stagestruck
1954 Anthology
1955 Biography In Sound
1956 The New Edgar Bergen Hour
1956 Recollections At Thirty
1957 A Tribute To...
1963 Monitor
Playhouse 25
The Golden Days Of Radio
15 Year old John Sydney Blythe circa 1897
15 Year old John Sydney Blythe circa 1897
John Barrymore circa 1914
John Barrymore circa 1914

A larger than life actor in a larger than life role.  John Barrymore as Hamlet circa 1922
A larger than life actor in a larger than life role. John Barrymore as Hamlet circa 1922

The Great Barrymore as Hamlet circa 1920
The Great Barrymore as Hamlet circa 1922

United Artists John Barrymore fan card circa 1927
United Artists John Barrymore fan card circa 1927

A dashing and foreboding John Barrymore circa 1927
A dashing and foreboding John Barrymore circa 1927

Lionel and John Barrymore on the cover of Time Magazine March 1931
Lionel and John Barrymore on the cover of Time Magazine March 1931
John Barrymore with Greta Garbo in Grand Hotel 1932
John Barrymore with Greta Garbo in Grand Hotel 1932

Barrymore loved spending time on his yacht The Mariner
Barrymore loved spending time on his yacht The Mariner

John Barrymore holds his helmet from Richard III at home in 1942
John Barrymore holds his helmet from Richard III at home in 1942

John Barrymore sits idly fingering a script at home with his daughter Diana in 1942
John Barrymore sits pensively fingering a script at home with his daughter Diana in 1942

Barrymore at the mike with Rudy Vallee and Orson Welles during the Sealtest Variety Hour program of December 12 1940
Barrymore at the mike with Rudy Vallee and Orson Welles during the Rudy Vallee Sealtest Show of December 12 1940

John Barrymore awaits his turn at the mike on The Sealtest Variety Hour circa 1942
John Barrymore awaits his turn at the mike on The Rudy Vallee Sealtest Show circa 1942

John Sidney Blythe was born at the home of his maternal grandmother in Philadelphia, Pennsylvania on February 15, 1882. He was born into a family with a rich heritage in both the Performing Arts and the Fine Arts. His father, Maurice Blythe was a successful Stage actor under the name 'Maurice Barrymore'. John's mother, Georgie Drew, was the daughter of actor John Drew and Louisa Lane Drew, a widely respected actress and theatre manager of the era. John Blythe was one of three children born to the Blythes. His older brother Lionel and older sister Ethel became equally famous Stage and Screen stars in their own right.

While still in his teens, John Blythe met and courted showgirl Evelyn Nesbit during 1901 and 1902. Nesbit subsequently became pregnant at 17--John was still only 19. Barrymore reportedly proposed marriage to her, but her "sponsor" Stanford White intervened. White arranged for Evelyn to undergo an abortion under the guise of an operation for appendicitis. Stanford White was later murdered by Evelyn Nesbit's then husband, Pittsburgh millionaire Harry K. Thaw.

Thus, young John Blythe was both handsome and already something of a rogue--though clearly an honorable rogue. Indeed, his perennial bad habits were eventually to get the best of him. He made his stage debut at 18 in one of his father's productions, but he was more devoted to his endeavors as a fine artist. While briefly educated at King's College, Wimbledon, England, he finished his schooling at New York's Art Students League. In between, he'd been kicked out of the prestigious Georgetown Prep School for drinking and smoking. These were again, symptoms of habits that would continue to plague the great actor his entire adult life. Adopting the family stage name 'Barrymore' after his debut on the Stage, he worked briefly as a freelance artist under the name John Barrymore, and sketched for the New York Evening Journal as a freelance.

The call of The Stage, so firmly rooted in his entire family, ultimately brought him to the Stage as a profession, and he abandoned his aspirations as a freelance artist. Beginning in 1905 he began touring with his family throughout the U.S. in various plays. By 1906 the family had landed in San Francisco just in time for the catastrophic 1906 San Francisco earthquake.

Returning to New York by 1909, he first became a major Broadway sensation in The Fortune Hunter. By 1922, he'd become his generation's most acclaimed Hamlet--on both the New York and London stages. During that same period he began appearing in silent films of the era, usually in uncredited roles. His reported credited screen debut was in An American Citizen (1914). There are, however indications that he'd already appeared in at least five other films by that time as 'Jack' Barrymore in roles dating from 1912.

Soon after 1914 he began to gain the stardom on screen that he'd already attained on the Stage. A matinee idol by the 1920s he'd already acquired the nickname 'The Great Profile' for his strikingly handsome on-screen appearance, though he most often preferred disguising his handsome profile with makeup or prosthetic distortions to portray some of the screen's most dastardly villains or monsters.

Over a career of 25 years, John Barrymore delivered some of theatre and film history's most critically acclaimed performances and was widely regarded as the screen's greatest performer of the period. He appeared in more than sixty films during his big screen career, alone.

Barrymore had tended to prefer light comedies on the Stage until his friend, playwright Edward Sheldon, persuaded him to try serious drama. From that point forward, Barrymore created a sensation in John Galsworthy's Justice (1916) with Cathleen Nesbitt. He followed that triumph with Broadway successes in Peter Ibbetson (1917), Tolstoy's Redemption (1918) and The Jest (1919), co-starring his brother Lionel. He reached the ostensible peak of his early career as Richard III in 1920, but he followed that with the greatest success of his theatrical career with his Hamlet in 1922, playing to 101 Broadway audiences before taking the role to London in 1925.

Some of Barrymore's silent film roles included A. J. Raffles in Raffles the Amateur Cracksman (1917), Dr. Jekyll and Mr. Hyde (1920), Sherlock Holmes (1922), Beau Brummel (1924), Captain Ahab in The Sea Beast (1926), and Don Juan (1926). After successfully transitioning to the talkie era, his lead roles included The Man from Blankley's (1930), Svengali (1931), The Mad Genius (1931), Grand Hotel (1932) with his brother Lionel, Dinner at Eight (1933), Topaze (1933) and Twentieth Century (1934).

John Barrymore continued to work opposite many of the screen's foremost leading ladies, including Greta Garbo, Katharine Hepburn, Jean Harlow, Joan Crawford, and Carole Lombard.

Barrymore's bad habits continued to bedevil him during the Prohibition years. Barrymore's prodigious consumption of illegal alcohol, cigarettes and the ladies resulted in several regrettable medical complications throughout his most productive years as an actor. Indeed, Barrymore suffered a relapse on his boat, The Mariner, in 1929 off the coast of Mexico while on his honeymoon with his third wife Dolores (he was married four times). He was quickly taken ashore by his crew and admitted into doctor's care. His continued consumption of bad--often nearly poisonous--illegal alcohol simply hastened what was in all likelihood early onset Alzheimer's Disease.

His deteriorating physical and mental problems, compounded by his unabated personal excesses began to affect his previously legendary ability to remember his lines. For the first time in his career he began to insist on cue cards for his performances. While continuing to give creditable performances in lesser pictures, the remainder of his career was comprised of broad, often farcical caricatures of himself.

In 1937, shortly after completing Streamlined Shakespeare for NBC Radio, Barrymore visited India, where his father had been born. During his last years, he remained married to his fourth and last wife, Elaine Barrie; yet another union that turned out to be disastrous in the end.

While John Barrymore's Radio career spanned only twelve years, he remained a very important presence in every production he appeared in. Virtually any appearance he made in Radio was met with great fanfare. His greatest tour de force showcase over Radio was in NBC's Streamlined Shakespeare (1937) series of six, 45-minute Shakespeare adaptations featuring his wife at the time, Elaine Barrie, and a supporting cast of some of Radio's finest dramatic voices. The brief series was later reprised in 1950 in a 30-minute abridged form as John Barrymore and Shakespeare. The 1937 program was also listed in some newspapers as The John Barrymore Theatre.

John Barrymore's stature was so great over Radio that for years after his death several retrospectives of his work were aired over and over again through the 1950s and beyond. Rudy Vallee, in particular was more than willing to keep John Barrymore in his cast as long as Barrymore was willing to appear. Some thirty of his appearances on Vallee's Sealtest Show remain in circulation.

Indeed, it was on Radio that Barrymore collapsed while appearing on The Rudy Vallee Sealtest Show of May 19, 1942 and died ten days later in his hospital room. His dying words were reportedly, "Die? I should say not, dear fellow. No Barrymore would allow such a conventional thing to happen to him." However, even his dying moments are as clouded in legend as the rest of his remarkable life and career.

In fact, it's the legends surrounding The Great Profile that seem to have taken on a life of their own ever since his passing. One famous apocryphal anecdote stems from the memoirs of both Errol Flynn and David Niven. They both recount an instance when film director Raoul Walsh allegedly purloined Barrymore's body immediately after the funeral, transporting his corpse to Errol Flynn's house, where he left Barrymore propped up in a chair. When the predictably drunk Flynn returned from his favored watering hole of the era, The Cock And Bull, Flynn allegedly discovered Barrymore and collapsed. Variations on this famous tale abound, but David Niven's book The Moon Is A Balloon, entirely supports the above account from alleged first hand knowledge of it.

John Barrymore was ultimately interred at Philadelphia's Mount Vernon Cemetery.

Gayne Whitman
[ a.k.a. Alfred Vosburg, Albert Vosburgh, Alfred D. Vosburgh, Alfred Vosburgh, Al Vosburgh, Fred Vosburgh, Harold Vosburgh, Alfred Whitman, Al Whitman, Fred Whitman] (Host)
Stage, Screen, Radio and Television Actor, Writer, and Director; Announcer, Narrator

Birthplace: Chicago, Illinois, U.S.A.

1932 Chandu the Magician
1934 The Royal Hawaiian Hotel Show
1937 John Barrymore Theatre
1940 Community Mobilization For Human Needs
1941 Cavalcade Of America
1942 Eyes Aloft
1943 This Is My Story
1943 The Westinghouse Program
1943 The Pacific Story
1946 Theatre Guild On the Air
1949 NBC University Theatre
1950 Lassie
1950 Screen Director's Playhouse
1951 Stars Over Hollywood
1951 Short Story
1951 Bell Telephone Hour
1952 Let George Do It
1954 Lux Radio Theatre
Trobriand the Adventurer (Audition)
The Greatest Of These
Gayne Whitman circa 1937
Gayne Whitman circa 1937

Gayne Whitman (as Alfred Vosburgh) in Jealousy's First Wife (1916)
Gayne Whitman (as Alfred Vosburgh) in Jealousy's First Wife (1916)

Gayne Whitman's Telephone Hour broadcast featured in Pacific Telephone announcement of new microwave service
Gayne Whitman's Telephone Hour broadcast featured in Pacific Telephone announcement of new microwave service
Alfred D. Vosburgh was born in Chicago, Illinois. Moving to Hollywood in the early 1910s, Vosburgh soon found himself appearing in character roles in some of the earliest silent films of the 20th century.

From the April 19, 1925 Davenport Democrat and Leader:

Gayne Whitman
to Do Pictures

From the stage to pictures, then, to the stage and again back to pictures is the somewhat colored experience of Gayne Whitman, handsome young leading man, who has recently been signed by Warner Bros, to be featured in several of their forthcoming pictures.
For the last four years. Mr. Whitman has been leading man of the famous Morosco Theatre in Los Angeles and the Warners have had their eye on him. As soon as his contract was finished at the Morosco this season, the motion picture producers signed him for a term of years. Whitman is only following the footsteps of Douglas McLean, David Butler, Richard Dix, Warner Baxter and a score of others who have graduated from the Los Angeles playhouse to the screen.
Several years ago Whitman left the stage to become a member of the old Thomas Ince stock company at the time they were making one, two, and three reel features. He was later with Vitagraph supporting Corinne Griffith and other stars so that picture work is no novelty to him.
Warner Bros. intend to put him out in productions made from the best selling novels and plays.

In 1913 the Los Angeles Morosco Theatre (later the Globe) opened with weekly changes of plays, a new format for Broadway. By the late 20s Oliver Morosco lost control of the theatre to the Henry Duffy Players group. This is not to be confused with the Morsoco Theatre in New York. New York's Morosco Theatre opened February 5, 1917. It was owned by Lee and J.J. Shubert and given over to Oliver Morosco to manage as a reward for helping the Shuberts break the Charles Frohman-led Theatrical Trust. Morosco managed the house until 1924.

Alfred Vosburgh legally changed his name to Gayne Whitman during World War I, in response to the prejudice associated with German sounding surnames during the era.

On radio, Gayne Whitman played the title role in Chandu the Magician (1932), acting, directing and writing much of the series. He also wrote the screenplays for many of the Chandu The Magician films starring Edmund Lowe and Bela Lugosi.

During a Radio career spanning some 28 years, Gayne Whitman lent his voice and acting talent to virtually every genre of Radio drama imaginable. As he grew older, he began to appear more often as an announcer or narrator in Radio.

But Whitman's Film career was truly his most staggering accomplishment. Appearing in some 300 feature films and shorts, from the Silent era, to the 1960s, Gayne Whitman demonstrated a durability and versatility rarely matched in Film. Not only an actor, Whitman was also a prolific screenwriter and Radio writer. Whitman also directed several Stage plays and community theatre productions.

When Television beckoned, Gayne Whitman embarked on a third career as both dramatic actor and host/announcer/narrator for another ten successful years.

As remarkable a career as Gayne Whitman enjoyed, there remains all too little in the way of a worthy biography of this multi-faceted, multi-talented actor and his amazing career. We hope this article will spark further interest in this great actor's amazing contribution to the Performing Arts.

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