ORSON WELLES ALMANAC

May 3, 1944

“Orson Welles Almanac” aka “The Orson Welles Wonder Show” (1944) is a CBS Radio series directed and hosted by Orson Welles. Broadcast live in California and Arizona via CBS West Coast studios, the 30-minute program was heard Wednesdays at 9:30pm beginning January 26, 1944. Its last broadcast was July 19, 1944. Orson Welles Almanac presented readings from classic works, drama, music, sketch comedy, magic, mindreading, and personal commentary by Welles. Many of the shows originated from US Army camps where Welles entertained the troops. Welles had an ongoing battle with the program’s sponsor, Mobil Oil, which shortened the life of the series. Twenty six broadcasts were produced; all but four shows have survived.

This is the 15th episode of the series, aired on May 3, 1944. Previous guests were Groucho Marx, Lionel Barrymore, Ann Sothern, Robert Benchley, Hedda Hopper, and Victor Moore.  Lucille Ball previously guest-starred on the series on March 3, 1944. 

CAST

Lucille Ball (Guest Star) was then filming Ziegfeld Follies for release in 1945. Her films Best Foot Forward and Thousands Cheer (both released in 1943) were still in local cinemas. Ball was in her fourth year of a rocky marriage to Desi Arnaz, who she would divorce in September 1944, although the papers were never officially filed. Two days earlier, she had be heard in “A Night To Remember” for radio’s “Screen Guild Players.” 

Orson Welles (aka ‘Wonder Boy’) arrived in Hollywood in 1939 when Ball was a contract player at RKO Studios. To squelch rumors that he was a homosexual, the studio sent Lucy to escort him to a premiere to be photographed. He later recalled,

“We went to see the opening of some movie or other—I simply picked her up at her house and we went to the movie and got photographed and came home and I said ‘Good night,’ and that was the end of that. That was the end of that romance, but it was the beginning of a long friendship.”

A veteran of the theatre, in 1941 the actor / director completed his magnum opus film Citizen Kane. In the 1950s he was under contract to Desilu to film a pilot for an anthology series called “The Fountain of Youth,” which wasn’t aired until 1958 and did not result in a series. Despite that, it won a Peabody Award, the only pilot to ever do so.

On February 5, 1956 Lucy and Desi appeared with Welles on Ed Sullivan’s “Toast of the Town.” They were there to promote their film Forever Darling. Welles was there to promote his revival of his King Lear at New York’s City Center, which he initially performed in a wheelchair due to injuries to both ankles. By the time he performed it on “Toast of the Town” (aka “The Ed Sullivan Show”) Welles was using a crutch.

When the Oscar-winning actor and director was down on his luck he was invited to stay in the Arnaz guest cottage. Notorious for his drinking and rude behavior, Lucy had to find a way to politely get rid of her guest so she decided to have an episode of “I Love Lucy” written for him so she could pay him a salary. With that in mind, Desilu paid him the exorbitant sum of $15,000!  Ball’s memories of Welles were mixed. “I had a real love-hate relationship with Orson,” she said towards the end of her life. “His mind was awesome…but he was also a pain in the ass.”

At the time of this broadcast (March 8, 1944) Welles’ film Jane Eyre was playing in cinemas.

Aurora Miranda (Musical Guest) was a Brazilian singer and actress. She began her career at the age of 18 in 1933. Miranda appeared in several films, including The Three Caballeros, where she danced with Donald Duck and José Carioca, singing the song, “Os Quindins de Yayá”. Her sisters were Carmen Miranda and Cecilia Miranda.

The All-Star Jazz Group: Mutt Carey (trumpet), Kid Ory (trombone), Barney Bigard (clarinet), Buster Wilson (piano), Bud Scott (guitar), Ed Garland (bass), and Zutty Singleton (drums).

John McIntire (Announcer)

EPISODE

This episode was broadcast from the Naval Air Station at Terminal Island, San Pedro, California, at the time, the fastest ship-building station in the world.  

ORSON: “All the way out I had to sit on Lucille Ball’s lap!”

The sailors in the audience respond very vocally to Lucille.  

Orson and Ball enact a scenario depicting Lucille Ball pulling over to pick up a prudish sailor who is hitchhiking. The sailor says he’s headed to the Museum of Natural History, and maybe the Aquarium. They drive off, the sailor uncharacteristically staving off Lucille’s advances. He admires her car – a 1941 Cadillac.

ORSON: “You get much pick-up?”
LUCILLE: “You’re the third today!” 

Welles introduces Aurora Miranda to Lucille Ball. He has to ‘translate’ her heavy accent. She sings “No Tabuleiro da Baiana”, with Welles joining her briefly in duet.

Lucille asks Orson if she can do a love scene with one of the sailors.  He recruits someone from the audience – George.  Although he claims no acting experience, he knows he can kiss!  Orson sets the scene: a boy comes home from college to meet his sweetheart for the first time in a long while. Orson acts as a director. 

ORSON: “Woah!  Slow down!  What’s the rush?”
GEORGE: “I’m expecting a transfer any minute.”

Although the scene calls for hand-holding the sailor puts his arm around her. Lucy senses that Orson is deliberately intervening to prevent him from kissing her, but finally he does.  

ORSON: “Cut!  That’s it!  This isn’t commando tactics!  She’s an actress, not an obstacle course!” 

Orson introduces the All-Star Jazz Band playing “Savoy Blues.” The piece was first recorded by Louis Armstrong in 1927 and was composed by Kid Ory, who plays trombone here.  

Orson Welles reads the honor speech from Shakespeare’s Henry V on the subject of honor.

In 1965, Welles made a film called Chimes at Midnight (aka Falstaff) which incorporated monologues from several of Shakespeare’s “Henry” plays, including Henry V.