Lights Out

[November 28, 1933 Variety]


Chi NBC Figuring on 12M. Mystery Serial

Chicago, Nov. 27.

NBC locally discussing chances for a midnight mystery serial to catch the 
attention of the listeners at the witching hour. It's an idea by Will Cooper, 
NBC continuity chief.

Considered for the spot is a new script, just being turned out, labelled 
'Desert Quests.'

[January 16, 1934 Variety]

Radio Chatter / Chicago ...

Bill Cooper finally set for his midnight mysteries over at NBC here. Starts 
this Friday (19) over WENR for a beginner. ...

[February 2, 1934 Winnipeg Free Press]

"LISTEN -- if you dare!" is the enticing tag-line for radio's newest, 
creepiest, hair-raisingest programme which emanates from WENR every Wednesday 
night at midnight. Groans, screams, and the mysterious machinations of spirits 
all blend crazily into the quarter-hour called "Midnight Mysteries." It's a 
good thing the kids are in bed. Excellent presentation. 

Advice for next Wednesday: listen with the lights out! 

[February 7, 1934 Winnipeg Free Press - Radio Flashes column by Cliff McNeill]

Thanks are due Bill Cooper, who is the producer of those extraordinary 
Midnight Mysteries heard from WENR every Wednesday at midnight. Lights out, 
everybody, for a guaranteed thrill!

[April 7, 1934 Winnipeg Free Press]

... Lights Out! Creepy, supernatural stuff, admirably done. Only 15 minutes, 
but a hair-raiser! WENR, 12 midnight. ...

[May 9, 1934 Winnipeg Free Press]

LIGHTS OUT! -- Listen in the dark -- if you dare! -- to Bill Cooper's 
supernatural drama -- Last time we mentioned it in this column, Lights Out was 
scaring folks for only 15 minutes over WENR -- Now you can be scared for a 
half-hour over a network of NBC stations! -- at 11 p.m.

[May 23, 1934 Winnipeg Free Press - You Will Hear ...]

... A CHALLENGE! "Do you dare turn out the lights and listen in the dark" to 
Bill Cooper's Midnight Mystery? Go ahead -- try it once! (Recommended for two-
somes). WENR and NBC network, 11 p.m.

[June 30, 1934 Winnipeg Free Press - Radio Flashes column by Cliff McNeill]
A GOOD MANY readers of this column have become acquainted with Lights Out, the 
intriguing supernatural stuff that has been emanating from WENR Wednesday 
nights for several months past. If you haven't, you've been passing up one of 
the most cleverly produced dramatic shows on the air today. 

We tipped you off several times on when to hear Lights Out, and now we want to 
warn you that the show is due for a large boost — twice a week over NBC. Bill 
Cooper, an NBC writer in Chicago, whose energetic fingers have typed out 
myriad horrors and weird doings for several moons, will turn out twice as much 
in future. 

Just got word that Lights Out will be spotted today at 6:30 p.m. over NBC. 
Maybe KFYR will have it; maybe not. At any rate, the six-thirty hour is a bit 
early for this stuff; instead of dousing lights, we'll have to pull down the 
blinds. Or take the radio down in the coal bin.

A letter to Bill for details of Lights Out elicited the following concise 

"As to the show: I write them all. We use Arthur Jacobson, well-known 
juvenile, in practically all of them. Bernardine Flynn, Philip Lord, Sidney 
Ellstrom and Don Briggs are also pretty regularly in the show. Sid Ellstrom, 
by the way, is the guy to whom most of the terrible things happen. He does a 
swell job of suffering, and to date he has been skinned alive, had his tongue 
torn out, his hands smashed on an anvil, his ears nailed to a wall, his teeth 
smashed with sledge-hammer, been burned alive, and had his head cut off. I 
have been both writing and producing the shows, but occasionally Joe Ainley, 
of our production staff, does the job of producing."

[August 25, 1934 Winnipeg Free Press - Radio Flashes column by Cliff McNeill]

ANOTHER day and back to NBC to chat with Willis Cooper, continuity editor, who 
made us feel right at home by revealing his several visits to Winnipeg. On one 
occasion here, Bill made a friend in Inspector A. H. L. Mellor, of the 
R.C.M.P., and, incidentally, picked up some valuable material for a radio 
series he was writing for CBS at that time.

Bill's present occupation resolves itself mainly into scratching off, once a 
week, one of those hair-raising supernatural dramas that emanate from WENR 
each Wednesday around midnight. The series, which has been running for some 
months now, is known as "Lights Out!" Bill sits up all night (from midnight to 
8 a.m.) when he's polishing off his typewriter keys with weird whisperings, 
groans and choice bits of skullduggery. If there's a good electrical storm in 
progress, so much the better, for Cooper thrives on atmospheric rumblings, 
clanking chains and dark-skinned sirens and juicy murders. 

[October 14, 1934 Chicago Tribune]

... Willis Cooper, author of those horrifying "Lights Out" ghost dramas at NBC 
is writing a novel. An interested publisher has induced him to begin work on a 
long promised opus. ...

[November 3, 1934 Winnipeg Free Press]

At last the the old order has been reversed. Radio plays are being adapted to 
the stage. Willis Cooper, NBC central division continuity editor, is adapting 
some of his "Lights Out" scripts for stage presentation. One of them will be 
produced this winter by the Detroit Players club. 

[January 23, 1935 Chicago Tribune]

"Lights Out," that Wednesday midnight horror series written by Willis Cooper, 
NBC continuity ace, will be restored on Jan. 30.

[January 26, 1935 Winnipeg Free Press - Radio Flashes column]


The crime-and-horror fans who haven't written or phoned me about Bill Cooper's 
"Lights Out" feature on WENR at midnight on Wednesdays, have written direct to 
WENR, with the result that "Lights Out," which broadcast its final play about 
two Wednesdays ago, is immediately being resumed. 
For myself I'm surprised that so many people can listen to more than one of 
Cooper's hair-raisers. I sat through one, but the strain was too much. Loss of 
several finger nails (which I chewed off in my anguish), loss of appetite and 
sleep and the threatened loss of my hair, which wouldn't lie down for several 
days afterward, forced me to steer clear of WENR on Wednesday nights, if I 
valued my future peace of mind. 

For those about to listen to "Lights Out" for the first time, I would 
respectfully suggest that you invite about six or eight of your strongest and 
most reliable friends over to listen also; friends whom you can trust. Pulling 
down all the blinds in the room helps too -- it eliminates the possibility of 
seeing gibbering gargoyles at the windows, if they happen to be there. I never 
did get up enough courage to turn the lights out while I listened, as that 
arch-fiend Bill Cooper suggests.  

However, if in spite of all this you still like to hear horror stories and 
supernatural dramas, and the weirdest, most heart-rending assortment of sighs, 
sobs and moans, then by all means listen in to WENR at midnight next 
Wednesday. The inarticulate mouthings of a disembodied spirit is something to 
be remembered long after all the other folks in the house have dropped off to 

[After the January 2, 1935 episode, judging by the Chicago Tribune's radio 
listings, "Lights Out" is off the air for the rest of the month. The Trib 
reports on January 23 that the series will return January 30 but doesn't 
mention the program in its daily radio schedule until February 6. From then 
until April 10 (the last local broadcast before switching to the network) the 
paper lists some episode titles:]

02-06-1935 Lost in the Catacombs
02-13-1935 The Death Cell
02-20-1935 The Mine of Lost Skulls
02-27-1935 x

03-06-1935 After Five O'Clock
03-13-1935 Sepulzeda's Revenge
03-20-1935 The Haunted Chair
03-27-1935 Submarine

04-03-1935 x
04-10-1935 Play Without a Name

[February 9, 1935 Chicago Tribune]

Fifty members of Evanston's Lights Out club got more than they bargained for 
the other midnight when they came to NBC studios to view Bill Cooper's macabre 
"Lights Out" broadcast. This week's episode concerned a honeymooning couple 
lost in the Roman catacombs. Studio lights are doused during the broadcast, 
only two narrow beams playing on the actors themselves. The studio sound 
experts gave Evanstonians a nice case of jitters.

[February 27, 1935 Winnipeg Free Press - You Will Hear ...]

... "The Mine of the Lost Skulls," an eerie episode dealing with a lost mine 
in the southwest and the strange misadventures which befall two people who 
discover it, presented during the Lights Out programme, over WENR at midnight. 
The programme, written by Willis Cooper, continuity editor of the NBC Central 
division, is produced for the special benefit of those stout-hearted persons 
who are not afraid to turn out the lights when they tune in. 

[March 13, 1935 Chicago Tribune]

Willis Cooper, NBC continuity chief and author of those gruesome "Lights Out" 
productions heard at midnight Wednesdays over WENR, has spent a most unhappy 
week. Hard boiled radio listeners have been kicking about last week's playlet, 
"After Five O'Clock," saying it was too mild. Some have charged him with going 
soft. Other gluttons for the macabre have gone so far as to brand him a sissy. 
Cooper admits that last week's opus wasn't quite up to standard -- it 
concerned a guy harassed by his subconscious mind and wound up mildly with 
three suicides. Cooper's plea was that he was merely trying to mix them up a 
bit. [A version of this episode survives from the 1945 revival season of 
"Lights Out" under the title "Man in the Middle"] 

Cooper brooded for several days and then resolved to give them something they 
would remember him by. Tonight he will present his masterpiece of fiendishness 
which he calls "Sepulzeda's Revenge." "It will satisfy all who insist on 
HORROR with capital letters," Cooper said yesterday. In this one, Cooper warms 
up on a cleaver and trunk murder and tops it off with an episode in which a 
husband beheads his wife. Last Wednesday night Willis didn't rest well but 
tonight he will sleep like a baby. ...

[March 20, 1935 Chicago Tribune]

"How do I die this time?" Sidney Ellstrom inquired yesterday of Willis Cooper, 
author of the macabre "Lights Out" series heard Wednesday at midnight on WENR-
NBC. "A ghost strangles you in 'The Haunted Chair,'" Cooper replied. "Fine," 
said Ellstrom, returning to his business for the day.

He has been put to death in this show more than 100 times. And his endings 
have all been grisly and gruesome. He's been skinned alive, boiled in oil, 
devoured by a man eating jungle plant, strangled by a vampire. He has been 
drowned, electrocuted, poisoned, buried alive, decapitated and dismembered.

But sometimes his work is sweet. Now and then Author Cooper turns the tables 
and allows Ellstrom to get revenge on his persecutors, usually portrayed by 
Art Jacobson, Don Briggs, Bernardine Flynn, Betty Lou Gerson, or Betty 
Winkler, other members of the "Lights Out" cast. Once, for example, as a 
Chinese madman, he was given a chance to inflict "death" through a thousand 
slashes on Jacobson, usually one of his most fervid annihilators. ...

[April 6, 1935 The Billboard review]

"Lights Out"

Reviewed Wednesday 12-12:30 a.m. Style--Melodrama. Sustaining on WEAF (NBC 

With as much notice as a mob might give a bank prior to holding it up, NBC 
unloaded this crisp script sandwiched in between a couple of dance orchestra 
sustainings at a time when no listener expects to hear anything but music. 
Which made this hunk of dramatics that much more effective and must leave the 
dial twister thinking about the incident  and dispel all taste for the 
abounding night club music in question. For instead of just another band 
coming on a mug began the story of a bank robbery in the first person, tersely 
stating the facts until the succeeding episode was dramatized. Subsequently 
there were both narrative and dramatic sketches, action and even a moral for 
the finish.

Briefly, the story concerns a gang moll who flits naturally from one gangster 
to another. Thus after the bank robbery, in which some $375,000 was the haul, 
her boy friend picks a fight with her just after the loot is counted up, and 
the Swede member of the mob, unable to make the pal lay off, takes a shot at 
him and knocks him off. The Swede and Marcella go to Europe and live a gay 
life. He loses a quarter of a million dollars at Monte Carlo and it is not 
long before he gets unduly suspicious of Marcella and a friend, whom he finds 
together. The usual procedure of her boy friend beating her up takes place and 
the newcomer is forced to knock the Swede off in order to save the gal. The 
couple go to Santa Monica, Calif., to take things easy, and Marcella, in her 
first bit of first person talk, tells of becoming friendly with their 
physician. She is also allowed to go out on occasion with other gentlemen 
friends, it seems. Her lord and master has returned from a stickup, as 
indicated in reports that reach her, and since he has to lay low, he is 
amenable to her going for a ride with the young doctor. In the meantime, she 
gets a phone call that is surely suspicious, and he having been hitting the 
bottle by way of diversion, Marcella is again in for a beating, this one 
costing her her life. Her screams, however, attract the police, who may or may 
not have already been on his trail.

Closing episodes find him in the death house conversing with a knowing keeper. 
The killer doesn't want to die and he can't take it at all. In a sort of 
reverie he "remembers a big cop taking" a shot at him, and then he woke up in 
a jam for fair. And so he is dragged away to the chair or scaffold a meek, 
yellow, broken-down gunman who might have been like any other man but for 
certain circumstances that took him off the proverbial alley.

Technique in writing and producing this script is one of pure radio license 
and can't even be compared to the flashback from the movies, since characters 
dead at the close of the tale do considerable talking of their experiences. 
This feat, combined with the terse, stark sock of the drama, is probably one 
of the most realistic pieces radio has ever presented. Inquiry brings the info 
that the author is Willis Cooper and that the program was an audition for a 
potential sponsor. The right hour, sponsor and product and equally strong 
scripts ought to click hands down. Program originated in Chicago NBC studios.

M. H. S.

[April 7, 1935 Chicago Tribune - the Trib's regular radio columnist writes a 
few sentences about various Chicago-based radio series:]


by Larry Wolters

... LIGHTS OUT--Murder at midnight. Sound effects that freeze the blood. It 
may only be a head of cabbage in the studio, but it's red with gore when you 
hear its dull thud on the floor, by way of the loudspeaker. ...

[April 10, 1935 Chicago Tribune]

Willis Cooper's gristly [sic] "Lights Out" program, for many months heard 
locally, on Wednesday at midnight will become a network feature next week. It 
will be aired a half hour earlier locally in order to keep New Yorkers from 
staying up most of the night to catch it. Tonight Cooper is presenting "Play 
Without a Name." He couldn't think of a title that would do its horror 

[April 12, 1935 Syracuse Herald - Contrary to the article, "Lights Out" was 
actually off the air for several weeks circa January 1935.]

Horrors for Night Owls

NBC to Bring Dramatic Chillers From Chicago to Network

"Lights Out," a series of ghost and horror dramas which has thrilled and 
chilled midnight listeners for more than a year, will come to an NBC-WEAF 
network Wednesday night, as a regular feature.

Broadcast at the late hour of 12:30 A. M., "Lights Out" is distinctly not a 
program for the children, nor for adults who are faint of heart. Critics have 
declared that it achieves the ultimate in horror, not only in radio, but in 
any form of dramatic presentation.

However, the [...?] Chicago, like it. When the program was off the air for two 
weeks last fall because Willis Cooper, the author, was too busy to write it, 
the station presenting the feature was overwhelmed with protests. Cooper says 
that no matter how macabre are the dramas he writes, listeners always want 
them more so.

[April 12, 1935 The Frederick (MD) Post; Syndicated column Radio Day by Day by 
C. E. Butterfield]
New York, April 12.—Intended solely for that group described as "Hardy 
Listeners" who thrill at thrillers at midnight or after, that's the prime 
purpose of a new series of "Horror" and ghost dramatizations WEAF-NBC is to 
bring out of Chicago starting next Wednesday night at 12:30. 

Under the title of "Light's [sic] Out," the broadcasts have had nearly a 
year's run on WENR, where their popularity led the chain to believe that 
others might like to do some scarey [sic] tuning in. The author of the "real 
radio thriller" is Willis Looper. [sic]

[April 13, 1935 Winnipeg Free Press]

... Petitions arrived from no less than 87 fan clubs in Chicago alone. Other 
letters came from groups ranging from society folk to taxi drivers who each 
Wednesday convened in all-night restaurants to hear the programme. One letter 
came from the Royal Canadian Mounted Police here in Winnipeg. ...

[April 17, 1935 Winnipeg Free Press]

Willis Cooper['s] popular supernatural and horror dramas go National when his 
"Lights Out!" programme goes on the NBC network a half hour earlier at 11.30 

[April 17, 1935 The Lima News (Ohio) radio column headlined: Spooks To Branch 
Out On Network Program Wednesday / "Lights Out" Series To Become Regular Eerie 
Hour Feature Thru WEAF; ...]

"Lights Out," the series of ghost and horror dramas which has thrilled and 
chilled midnight listeners of station WENR, Chicago, for more than a year, 
will come to the WEAF network Wednesday and will be heard regularly thereafter 
at 12:30 a. m. Originally planned as a spine-tickling novelty for those hardy 
listeners who prefer something different in the way of late broadcasts, 
"Lights Out" has proved enormously popular. It is distinctly not a program for 
the children, nor for adults who are faint of heart. ...

[April 19, 1935 Chicago Tribune]

... Mrs. Frank Bering, the former Joan Winters, is playing leading parts in 
NBC's "Lights Out." She portrayed the countess in Wednesday evening's show. 
[refers to the series' network premiere, which was April 17] ...

[April 20, 1935 Newsweek]

HORROR: Bedtime Blood-Curdlers With Realistic Sound Effects

For horror dramas, radio directors usually choose late hours. Scary children 
are asleep. And many adults -- sick of crooning, Harlem jazz, and political 
harangues -- welcome the change. Half an hour after midnight Wednesday, the 
National Broadcasting Co. aired on WEAF the first of a series of blood-
curdlers, "Lights Out." Officials call it "the ultimate in horror."

Willis Cooper, 36-year-old script author, supervises NBC continuities in the 
Chicago area. "Lights Out" has run over WENR there for a year. His theory:

"I think the horror slant is good in radio. On the stage there is little 
difference between the horrible and the ludicrous. Radio hits ears only. 
Listeners build their own pictures."

Cooper creates his horror-illusions by raiding the larder. Maple syrup 
dripping on a plate suggests the plopping of blood from a wound. To split a 
man's skull Cooper drives a cleaver through a head of cabbage. To crush bones 
he pounds raw spareribs.

The program has violent effects on some listeners. Last month one fan 
telephoned WENR that "Lights Out" made his mother faint. A suburban woman 
called a police car to her home: "I was frightened out of my wits."

But many fans cry for "more cannibalism." Cooper reaches for another cabbage 
head and gives it to them.

[April 24, 1935 Winnipeg Free Press]

"The Phantom Ship," a ghost drama of the sea done in the most realistic 
"Lights Out" tradition, will be presented during the second network broadcast 
of spooky stories at 11.30 p.m. (NBC, including KFYR). The story involves two 
sailors, lone survivors of a ship which is torpedoed and sunk during the World 
War. After drifting on the sea for a time they encounter and board a deserted 
ship. Here the supernatural element enters the play, for the ship proves to be 
anything but an ordinary craft.  

[April 28, 1935 Chicago Tribune]

... "Lights Out," ... which was dropped because Author Willis Cooper had too 
much other work to do, was restored on WENR at the insistence of thousands of 
followers. Then it was piped to New York for a test. Eastern executives 
thought it was too tough for Manhattan, but after uniformly favorable 
criticism by New York critics they had a change of heart and are now trying it 
out across the nation. But they're starting in easy -- using ghost and spook 
stories. The gory yarns are out for the present. Incidentally, Ted Sherdeman 
is producing the shows and doing a slick job of it at 11:30 now Wednesday. ...

[May 1, 1935 Winnipeg Free Press]

Willis Cooper, author of the Lights Out ghost series, has concocted a thriller 
out of such a non-spooky subject as moving from one apartment to another for 
the broadcast at 10.30 p.m., (NBC). In "Moving Day", however, the apartment is 

[June 1, 1935 Winnipeg Free Press]


Numerous protests have been registered to the effect that Willis Cooper's 
"Lights Out" ghost dramas on NBC at 10.30 Wednesdays, have gone sort of Elsie 
Dinsmore-ish since their debut on the network. Fans want them "awfuller and 
awfuller." Seems like "Frankenstein" and his "Bride" and "Dracula" and the 
"Werewolf of London" have sort of acclimatized listeners and left a taste for 
more and more horror. 

The "scene" of Cooper's latest is chronicled here below, candid fashion:

Wednesday night, 10.30 p.m. ... actors gather about a shaded floor lamp over 
the microphone in studio B, NBC Chicago studios ... remainder of studio 
control room and observation rooms are dark ... thirteen chimes sound, and 
Lights Out, programme of ghost drama goes on the air ... Production Director 
Ted Sherdeman and the engineer are in the control room ... a small desk lamp 
enables them to see the script and the control panel ... Sherdeman insists 
that studio be darkened in order that actors may feel they're really playing a 
ghost drama ... result: members of cast frequently become as frightened as 
their listeners ... no theme music ... only thirteen chimes ... scenes are 
broken by sounding of a gong, which also closes broadcast ... it's one of the 
few dramatic programmes without theme music ... makes production director's 
task doubly difficult. ... he has to finish "on the nose" without filling in 
with longer or shorter closing theme ... works with a script four minutes 
short ... natural pauses for effect take up the four minutes during broadcast 
... now two actors, Sidney Ellstrom and Bernardine Flynn, are at the mike, 
their faces lighted by the lamp ... other members of cast sit in darkness 
nearby ... Don Briggs steals up behind Bernardine and clutches her throat ... 
she screams in real terror, for she's afraid of the dark ... Briggs is a ghost 
... he laughs maniacally ... all a part of the script, but in the darkness it 
seems real, and the actors feel it IS real ... especially the feminine actors 
... they're usually Betty Winkler and Bernardine ... the programme continues, 
building to a climax ... Briggs and Art Jacobson fight ... they really grapple 
and finally go to the floor . . . it's all part of the realistic treatment of 
the programme ... a gong sounds and the programme is off ... lights come on 
... the actors relax, and laugh ... spectators in the observation room feel 
safer now, too ... it's eleven; and the cast departs. 

[June 15, 1935 Winnipeg Free Press]

Here's one for Ripley: a radio press sheet recounts the story of a Chicago 
police station captain who telephoned the studio following a "Lights Out" 
broadcast and said that his men had been listening to it and were afraid to go 
out afterwards and walk their beats. Don't that beat all. 

[July 1935 Radio Stars magazine]

We watch the death in the studios!

Sidney Ellstrom, dramatic star with the NBC studios in Chicago, is standing 
before the microphone, reading a script. Suddenly, he tears at his throat and 
sinks to the floor. For a full minute, his screams and curses fill the air 
from coast to coast. The mike is open!

But we aren't surprised. We expected him to die in all the agony a diabolic 
mind could conceive--since he's been doing it every Wednesday night on the 
"Lights Out" horror drama. To make our hair curl, Sidney has been skinned 
alive, boiled in oil, devoured by man-eating plants, flogged to death by wire 
fencing, and strangled by a vampire. He has had his eyes plucked from his head 
and his tongue ripped out. He has been drowned, electrocuted, buried alive, 
decapitated and dismembered.

He has, also, never been seriously ill.

[July 21, 1935 Chicago Tribune photo caption]

Things look bad -- but they'll be worse. Betty Winkler is the lady in distress 
and Don Briggs (right) is plotting destruction for Sidney Ellstrom (center). 
They are reaching the awful climax of a Lights Out episode, heard Wednesday 
nights on NBC.

[August 10, 1935 Radio Guide]

They Must Be Scared!

Willis Cooper Knows Better Than to Give His Listeners Anything But Hair-
Raising, Blood-Curdling Thrills

By Meryl Dell

"LIGHTS OUT, Everybody." A deep voice speaks softly.

Thirteen chimes ... Evil omen.

Wind rising to a crescendo and fading ... ominous--foreboding.


By the time this much of the Lights Out program has gone out over the air, 
hundreds of thousands of listeners, literally in the four corners of the 
country, are sitting in the dark, nerves taut in anticipation.

Then the play. Whatever its story, it must be gory, blood-curdling, 
terrifying. It had better be, or Willis Cooper, creator and author of the 
program and Western NBC continuity editor, will be deluged with letters 
calling him "sissy."

Lights Out fans want their horror undiluted. And they get what they want--or 
else. Which means that by letter, phone and telegram they shout long and 
loudly until they do get what they want. NBC found that out when the program 
was taken off the air last Winter.

The program started as a novelty--an experiment. Its immediate, overwhelming 
success probably will make it Exhibit A for all those who insist that 
listeners do know what they want from their radios, and will emphatically 
voice their approval when given an incentive.

About a year and a half ago it occurred to Willis Cooper that a great many 
listeners might welcome a dramatic show late at night as relief from the 
constant song of dance bands. Being an avid reader of mystery and horror 
stories, especially as relaxation after a hard day's work, he decided quite 
naturally that midnight and ghastly stories would make a grand combination for 
night-owl listeners.

Whereupon Mr. Cooper spent a few evenings giving himself the jitters by 
writing tales of horror instead of reading them. That's no gag. With that 
vivid imagination of his ... you know he has to have one to write those 
chilling tales ... he sometimes scares himself so he has to stop writing in 
the middle of a story, and finish it the next day. Especially is this so of 
ghost stories. Bill is scared to death of ghosts; so much so that often he 
refuses to listen when one of his ghost stories is being broadcast. "Just 
can't take it," he admits.

He presented his scripts and suggestions for midnight dramas to NBC's program 
board. Only mildly interested, the others on the board--Cooper himself is one 
of them--bowed to their continuity editor's enthusiasm and decided the idea 
was worth giving a trial.

Without ballyhoo of any kind, Lights Out was presented for the first time over 
WENR on a Wednesday at midnight early in January, 1934.

The studio personnel, accustomed to all types of programs and therefore 
generally indifferent to all, started staying up late on Wednesday nights. A 
few radio editors paid tribute to something new on the air. Letters from 
listeners started to come in, slowly but surely increasing in number each 
week. It was evident that Lights Out was a successful experiment. But no one, 
not even Willis Cooper, imagined that it was a sensation. 

THAT amazing revelation came months later. As continuity editor, Bill has a 
great deal of work to do. He decided he needed for his other work the time it 
took to write Lights Out.

One night last January the announcer ended the program with a simple 
announcement: "This is the last of the series of Lights Out programs."

Then came the deluge. From North, East, South and West came letters, phone 
calls, telegrams, petitions--some signed by as many as 200 people. Radio 
editors were swamped with protesting mail from their readers. The mailing room 
was flooded. "Put Lights Out back on the air!" was the cry. It wasn't a plea. 
It was a demand. "You can't take Lights Out away from us" was the ultimatum 
laid down by the world's greatest dictator--the public.

Sweet music to an author's ears. Pleasant surprise for the network.

With such acclaim, Cooper didn't care how much extra work he had to do. What 
writer would?

THREE weeks later, Lights Out was back on WENR each Wednesday night at 
midnight. And shortly afterward, yielding to the demands of station managers 
whose listeners were clamoring for Lights Out, the program was scheduled for 
the entire network. To save Eastern listeners the necessity of staying up all 
night to hear the program--blase New York had been particularly emphatic in 
demanding the thriller for its supposedly sated listeners--the program is now 
being broadcast half an hour earlier, at 12:30 a. m. EDT.

Watching a Lights Out broadcast is an experience in itself. As the opening 
words are spoken, all studio lights are extinguished. Working in utter 
darkness excepting the pin point of light that enables the actors to see their 
scripts, and another in the control room so they can watch the program's 
producer, everyone becomes tense. A huge studio in almost total darkness and 
silence is not the most cheerful place to be, even if you know it is just a 
play going on.

At a sign from the production man, the play starts. You keep reminding 
yourself that this is only a radio program, try to force yourself to be cool 
and unconcerned. After all, it's only a play and there are the actors in front 
of you; but so realistic is the acting--the atmosphere--the sounds--that cold 
chills insist upon running up and down your spine.

The program is over. Lights go on. With a sigh of relief you silently breathe 
thanks that no one was around to see you jitter. It seems silly to get so 
scared watching a broadcast.

BUT it isn't silly. It is a great tribute to those who are responsible for the 
program--the production man, the actors, the engineer and the sound men. Under 
the sensitive direction of Ted Sherdeman, the program's producer, the actors 
actually live the experiences written in Cooper's lines; sound and action are 
so real that one loses all sense of listening to a program; one seems actually 
to be witnessing a living drama. So intensely real is the drama that it sends 
shudders through thousands of people many miles away, and keeps the illusion 
of reality even in the studio. Audiences are not permitted at Lights Out 
broadcasts; but unlike many programs, it would spoil no listener's illusions 
if they were.

Some of Chicago's finest actors and actresses take part in the Lights Out 
shows. Betty Winkler and Bernardine Flynn share the feminine parts; Arthur 
Jacobson, Don Briggs, Sidney Ellstrom, Phillip Lord, Ted Maxwell and Butler 
Manderville are the stock group from which each week's male cast is chosen.

LIGHTS OUT mail is probably the most interesting received by any program. From 
all walks of life, from nearly every state in the Union, and from half a dozen 
countries, it pours in every week. So varied is its source, seemingly 
encompassing every type and class of people, that one is struck by the thought 
that if there is such a thing as a universal type of entertainment ... a type 
to please all tastes ... Lights Out is it. 

There are at least 200 Lights Out clubs, composed of from four to as many as 
fifty members. They meet each Wednesday evening to play cards or dance until 
time for the program's broadcast. Each of these, as well as hundreds of other 
listeners, sends in a weekly comment. "And woe is me," says Bill, "if the 
story has been even a little milder than usual. Those bloodthirsty fans pounce 
on me like some of my characters do their victims. Gives me nightmares."

But don't take that too seriously. Actually, Bill gets a kick out of writing 
his Lights Out--and a real thrill from those fan letters.

Lights Out may be heard Wednesday over an NBC-WEAF network at 12:30 a. m. EDT 
(11:30 p. m. EST; 11:30 CDT; 10:30 CST; 9:30 MST; 8:30 PST).

[photo caption 1] To make sure of the chill, actors on this hour do their own 
stuff as well as speak their lines. From left, Betty Winkler, Don Briggs, 
Sydney Ellstrom

[photo caption 2]  Willis Cooper, who writes Lights Out

[photo caption 3]  Ted Sherdeman, producer of the program

[August 24, 1935 Chicago Tribune]

Willis Cooper, who writes the macabre "Lights Out" show at NBC, will be a 
special guest of the Belfry Players when they present one of his "Lights Out" 
plays in the Belfry theater at Williams Bay, Wis., Monday evening. This 
theater really is an old church, built by Mormons about 1850. It still 
contains the original pews, oil lamps, and furnishings and is a point of 
historical interest in the Lake Geneva district. ...

[August 29, 1935 Chicago Tribune]

Willis Cooper has turned in his resignation as continuity chief at local NBC 
offices to devote his time to writing "Lights Out," chill and horror show, and 
"Flying Time," a juvenile thriller. With other members of the "Flying Time" 
cast Cooper left yesterday for Cleveland, where the program will be aired from 
the airport during the national air races. Loretta Poynton, Willard Farnum, 
Ted Maxwell, and Harold Perry made the trip with him. ...

[October 24, 1935 Chicago Tribune]

... Willis Cooper, formerly continuity editor at NBC, gave up the job to do 
free lancing with the view that he would have more time for recreation. But he 
is finding little time for rest -- he is writing five episodes a week of 
"Flying Time," an aviation serial; five of "Betty and Bob," another serial, 
and also turning out a play a week for the macabre "Lights Out" series. On top 
of that he journeys to Des Moines each Sunday to produce a show there.

[November 6, 1935 Chicago Tribune]

... Bill Cooper's goose pimpler "Lights Out," switches from WENR to WMAQ-NBC 
at 11:30 tonight. Bill has turned out a spine chiller about a lady who comes 
back to haunt succeeding generations of a family for tonight. Every time she 
appears the youngest son dies. ...

[November 13, 1935 Chicago Tribune - episode title:] 

"Three Lights from a Match"

[November 14, 1935 Oakland Tribune]


BETTY LOU GERSON had to resign from the casts of seven shows to play First 
Nighter leads. The script writer had her killed off the Girl Alone series, and 
she bowed out of "Nickelodeon," "Lights Out," "Flying Time," "Kilmer Family," 
"Curtain Time" and "Princess Pat." Through a special NBC-client dispensation, 
she is permitted to remain on the MARY MARLIN show heard over CBS ...

[November 16, 1935 Winnipeg Free Press]

WILLIS COOPER, author of the NBC Flying Time and Lights Out programmes, has 
been named a judge in a national contest for radio script writing conducted by 
the League of American Pen-women.

[December 13, 1935 Washington Post "On the Air Today" column by J. H. H.]

The old clock on the mantel had stopped. So I sat down at the radio, turned 
the switch and waited for the first break which would indicate the hour. It 
was, I figured, between 12:15 and 12:45 a. m.

In a few seconds, with the heating of the tubes, came a sudden crescendo of 
agonized, screaming pleadings. "Don't keel me. I'll do anything ... but not 
that ... I geeve you my money ... $2,000 in the mattress ..."

The blood-curdling dialog was doubly impressive because I had expected to find 
a dance band playing at that early morning hour, whatever the station last 
tuned in.

I was fascinated with the hair-raising awfulness of the script lines. Suddenly 
it became apparent that the victim was protesting being dumped in a ladle of -
- liquid steel! And while I was dwelling on this gentle situation as a plot 
for an air play -- the unfortunate gentleman was, in truth, thrown into the 
white-hot cauldron, with his last earthly screams imposed on the throaty, 
chuckling observations of his murderers.

The scene faded into a conversation between a steel-mill employe and a 
visitor, in which it was explained that a man recently had lost his life in a 
ladle of liquid metal -- but the process of fashioning steel rails, bridge 
girders and so on had not been stopped. The jolly part of it all was (laugh, 
laugh) that the victim even now was a fragmentary part (ho, ho, ha, ha) of the 
finished pieces before them.

Again, a transition -- and the voices of the three slayers are heard, one week 
or so later. One, named Sampson, set the plot. He was to be a victim of the 
slain man through an overwhelming desire to work, to go down to the nearby 
bridge under construction and work. From that point, the unfortunate mill 
worker dealt out his revenge.

The manner in which the three assailants died is not appropriate for reporting 
in a column that is scanned by many at the breakfast table. Let it be said 
that this attempt to be baldly, deliberately revolting in details -- ghastly, 
shocking in realism -- can be reported as notably successful. Finesse and 
subtleness were eliminated in favor of gory, crude obviousness.

Sometimes the mass radio audience becomes a mystery to me. There can be no 
doubt about it, many persons like this N.B.C. feature. It would not be 
continued if it did not meet with the approval and pleasure of some listeners.

Yet -- many a bell-ringing idea, many a delightful bit of entertainment has 
been refused with arched eyebrows because it was in bad taste, or too "in the 
raw" or otherwise deemed offensive to the public mind. Many a capricious 
alteration has been made in scripts and speeches by the same authorities who 
put the stamp of approval on "Lights Out," thus putting a crimp in the 
author's work and usually aiding the presentation in no way whatever.

"Lights Out," if I got a fair sample, is the most blatent [sic] evidence of 
policy inconsistency coming to my attention in many a day. ...

[December 14, 1935 Washington Post "On the Air Today" column by J. H. H.]

... Shannon Allen, production manager of N.B.C., in Washington, has risen to 
the defense of "Lights Out," which I took occasion to give space to yesterday. 
Mr. Allen has nothing whatever to do with the production of "Lights Out" as 
the midnight hour drama originates in the Chicago studios.

But Mr. Allen is first and foremost a production man and instinctively puts up 
his mitts in behalf of any show which, as he calmly and smilingly maintains, 
attracts the large audience as does "Lights Out." It seems, among other 
things, that in missing the opening announcement last Wednesday night, I 
missed the subtle tongue-in-the-cheek foreword explaining that the half-hour 
is slightly on the burlesque side, somewhat inclined to be sly hokum. Further, 
it is spotted at 12:30 a.m. for the express purpose of providing a "lights 
out" shocker for those who wish to be "shocked."

No one has even faintly suggested I lack imagination or am intolerant of any 
entertainment simply because I do not like it personally. As an example of 
showmanship, "Lights Out" is tops. I still maintain, however, that it is at 
fault in dealing with plot situations and climaxes that are stomach-turning. 
Mr. Allen contends that a "thriller" is not intended to be successful on 
finely drawn finesses.

After all, you, as the composite radio listener, are the judge. And I guess 
the mass audience likes "Lights Out." ...

[December 25, 1935 Chicago Tribune]

... 11:30 p. m. - WMAQ - "Lights Out," a Christmas play about three men in 
France. ...

[February 1936 Radio Mirror photo captions]
Feel in the mood for murder? Then tune in Lights Out over NBC some evening. In 
January this program celebrates its second anniversary, proving ghosts are 
still popular. Above, Forrest Lewis, Betty Winkler, Sidney Ellstrom, Art 
Jacobson, Ted Maxwell, Helen Fox and Harold Peary. At right, Betty and Ted. 
The clutching hands make even actress Betty's screams genuine.
Above, the cast in another pose. The actors work in a studio that has but one 
small light over the mike which casts grotesque shadows on the walls. Art 
Jacobson (left) directing a hair-raising scene from Willis Cooper's pen. 

[March 28, 1936 Chicago Tribune]

... Bill Cooper, who writes "Lights Out," "Flying Time," and "Betty and Bob," 
will leave for California for the summer, May 1. He will continue his writing 
while in the west. ... 

[April 18, 1936 Middletown (NY) Times Herald]

The Wandering Muse [radio column]


One has to be a late stayer-upper or something, to hear the Lights Out 
programs over WEAF every Wednesday, but they are certainly worth while 
remaining awake an extra half-hour to hear. This is a radio drama series and 
is heard at 12.30 every Wednesday night over WEAF. The sketches are timed for 
half an hour and are written by one Willis Cooper of whom we have never heard. 
The plays are by no means drawing room affairs. They deal with bizarre 
mysteries and, unless you have a cast-iron nerve, will ruin your night's 
sleep. They are splendidly acted and require some of the finest sound effects 
that any radio program has offered. Some Wednesday night when you're up later 
than usual and don't mind sacrificing the wave in your hair, tune in on Lights 

[April 23, 1936 Chicago Tribune]

Willis Cooper will leave for Hollywood next Tuesday to write dialog for the 
movies. He will continue to write the radio serial "Betty and Bob," and the 
horror series, "Lights Out," on the coast.

[May 13, 1936 Chicago Tribune]

... Willis Cooper is still writing "Lights Out" and "Flying Time" for radio 
production here, while turning out movie dialog in the west. ...

[May 28, 1936 Chicago Tribune]

... Bill Cooper, who writes Flying Time and Lights Out, has been signed by the 
20th Century-Fox pictures to write dialog. That's the same studio for which 
Don Ameche is working. ...

[June 6, 1936 Chicago Tribune]

Arch Oboler, young Chicago playwright, is the new author of "The Lights Out" 
[sic] horror series on NBC succeeding Willis Cooper who has gone to Hollywood. 
Oboler also writes Irene Rich's "Lady Counselor" sketches. ...

[June 24, 1936 Chicago Tribune]

11:30--WMAQ--Lights Out--"The Dictator--the Story of Emperor Caligula," by 
Arch Oboler.

[July 15, 1936 Chicago Tribune]

Arch Oboler deserves sharp reproof for offering an opus entitled "Flame" on 
the ghostly "Lights Out" dramatic series at 11:30 tonight. The flame, Mr. 
Oboler explains, is a living one that snuffs out the life of the man who 
created it. If Mr. Oboler feels that he must stick to such grisley matters the 
least he could do would be to title the piece, "Murder Under the Midnight 

[August 15, 1936 Chicago Tribune]

Arch Oboler, author of "Lights Out" and the Irene Rich series, was summoned 
from his home here to New York by plane last week to assist in a consultation 
on improving Show Boat from the dramatic standpoint. All this concern over the 
NBC Thursday evening show is due to the fact that Maj. Bowes is dragging his 
amateurs to a spot opposite the radio vessel on CBS on Sept. 17. ...

Oboler is dramatizing one of the stories of John Buchan, who as Lord 
Tweedsmuir is governor general of Canada, for Rudy Vallee who will present it 
on his program from Toronto in September when he plays there at the 
exposition. ...

[August 19, 1936 Chicago Tribune]

... Best show emanating from Chicago in his [Rudy Vallee's] opinion is the 
grisly "Lights Out" series, written by Arch Oboler. Why someone doesn't 
sponsor this hour is more than Rudy can understand. ...

[August 19, 1936 Kokomo (IN) Tribune]

"Invitation to a Fly," the story of a human spider, will be the breath taking 
Lights Out program to be broadcast at 10:30 o'clock this evening. The locale 
is laid in a lonely Scotch inn.

[August 26, 1936 Wisconsin State Journal]


A dramatization of Saint-Saens' famous composition, "Danse Macabre," will be 
presented during the Lights Out program over WIBA at 10:30 tonight. In the 
drama, author Arch Oboler gives his idea of the weird events which led the 
Frenchman to compose the eerie music.

[September 9, 1936 Winnipeg Free Press - You Will Hear ...]

... The author of the play himself as the leading character in the "Lights 
Out" drama, when a horror play titled "The Author and the Thing" is broadcast 
over NBC at 10.30 p.m. Although the writer is the central character, Author 
Arch Oboler will not play the role. He'll sit safely at home and hear himself 
go through a very uncomfortable evening. 

[September 11, 1936 Chicago Tribune]

"Lights Out," the midnight horror show written by Arch Oboler, put on a drama 
Wednesday night in which Oboler cast himself, his mother, his brother, and a 
girl friend. A monster enters his room (according to the script and Oboler's 
imagination) and consumes his brother and mother and murders his girl friend. 
"Oboler" summons the police, who can find no monster. So they hold "Oboler." A 
sanity hearing ensues in which physicians bearing the surnames of the radio 
editors of Chicago examine him. They pronounce him a lunatic. And then the 
thing comes and consumes him!

At the conclusion of the broadcast your reporter made a telephone call to 
Oboler's home and finding him in New York, apologized to his mother for 
disturbing her at such a late hour.

"That's quite all right," she said. "Your call reassures me that I am still 
alive. I heard the broadcast all alone here except for our dog!"

[September 16, 1936 Wisconsin State Journal]

A barren island off the coast of Ireland is the locale of "The Sea," which 
will be presented during the Lights Out program at 10:30 o'clock this evening. 

[October 3, 1936 Bismarck Tribune]

... [Patrick Howard] Murphy, who is starred in the NBC "Girl Alone" program 
and also is heard on the "Forest Rangers" and "Lights Out" programs, has had a 
brilliant radio career since his graduation from St. John's university, 
Collegeville, Minn. ... 

[October 14, 1936 Kokomo (IN) Tribune]

"The Fast One," an eerie drama about an inexplalnable crime wave which 
descends on a great city, the menace being a man whose mental processes are 
speeded up to thirty times the normal rate, will be broadcast on the Lights 
Out program at 11:30 o'clock tonight.

[October 21, 1936 Winnipeg Free Press]

"The Thing That Crept," another spooky melodrama by Arch Oboler, will be 
broadcast over WDAF at 11:30 o'clock Wednesday night. The mystery this time 
concerns a new kind of monster -- a synthetic beast created by gem thieves 
with vacuum cup feet -- which climbs up a forty-five story building to a 
penthouse, where most of the action takes place. The characters are a gem 
collector, a young girl, a reporter and the thief.

[October 28, 1936 Chicago Tribune]

... "Lights Out" ... is putting on an opus called "Halloween Horror" ... First 
rehearsed with youngsters it proved too gruesome for the kids and so adults 
were substituted.

[October 28, 1936 Wisconsin State Journal]

Harassed law enforcement officials who have more than their hands full on 
Hallowe'en night are the object of Arch Oboler's sympathy in the script he has 
prepared for the Lights Out program tonight at 11:30 on WIBA. It is entitled 
"Hallowe'en Horror."

[The same day's Kokomo Tribune calls it "Halloween Horror" and adds that "the 
program deals with a neighborhood gang of small boys who go out on a mischief 
excursion the last night of October and what they encounter."]

[November 4, 1936 Winnipeg Free Press - You Will Hear ...]

... "Death Prayer," the story of an eminent British mining engineer whose 
latent cruelty is brought out by heat and hardship in the bush country of 
Australia, as the subject Arch Oboler has taken for his "Lights Out" 
broadcast, at 11.30 p.m. (NBC). In revenge, the bushmen begin the horrible 
"prayer ceremony," the results of which follow the scientist back to England. 

[November 5, 1936 Chicago Tribune]

A few months ago when Rudy Vallee last visited here he disclosed that his 
favorite program was the macabre Wednesday evening "Lights Out" show for which 
Arch Oboler is responsible. Well, tonight, Vallee is putting on one of 
Oboler's plays on his variety hour from New York. Oboler calls it "A Prelude 
to Murder" and it was originally produced on "Lights Out" though it has been 
redrafted for this presentation. Peter Lorre, the distinguished European 
character actor, and Olivia de Havilland of Hollywood are to play the leads.

[November 5, 1936 Winnipeg Free Press]

The vehicle for Peter Lorre is a radio "original" specially written for Lorre 
and the Vallee Hour by Arch Oboler. It is called "Prelude to Murder" and 
utilizes the technique of "thoughts spoken aside" which was revived in 
"Strange Interlude" on the stage. Oboler was the author of the one act play 
"Rich Kid," in which Freddy Bartholomew made such a hit on the Vallee Hour 
some months ago. Since then Oboler has written several dramas for the 
programme. He also authors the Wednesday night "Lights Out!" series.  

[November 11, 1936 Winnipeg Free Press]

Lester Jay, boy star of Sidney Kingsley's "Dead End," now playing an extended 
engagement in Chicago, will take a leading role in "The Crime Clique of 
Croesus," horror play written by Arch Oboler for the "Lights Out" programme at 
11.30 p.m. (NBC). Jay appeared with Freddie Bartholomew recently in a skit, 
"The Rich Kid," also authored by Oboler, which was heard on Rudy Vallee's 
Royal Variety Hour. "The Crime Clique of Croesus" concerns a group of men who 
join to commit perfect crimes for the thrill of it. 

[November 11, 1936 Hammond Times]

Lester Jay, juve star of Chi cast of "Dead End," stars on Lights Out tonight 
at half-past midnight. Appropriate, too, because most of the Lights Out cast 
are dead in the end.

[November 18, 1936 Chicago Tribune]

"Alter Ego," a play about a woman with a dual personality.

[November 18, 1936 Kokomo (IN) Tribune]

A woman with a dual personality, whose lifelong struggle with the negative 
side in her character ends in defeat as she is lead by a strong inner force to 
commit a horrible crime for which she is sentenced to be electrocuted, is the
central character in the Lights Out drama for tonight, broadcast at 11:30 

[November 25, 1936 Winnipeg Free Press]

A big city racketeer decides to organize the laundries of his bailiwick into a 
"protective association." He also decides to include Chinese hand laundries in 
his organization. And thereby hangs a tale expounded in "Tong," the Lights Out 
drama at 11.30 p.m. (NBC). Cruel murders of Chinese as gangsters attempt to 
shove them "into line" are avenged by the orientals in their own way, with 
some particularly horrible torture reserved for the gang leader himself. 
Included are some little-known torture methods, according to Arch Oboler, 
author of the series.

[December 2, 1936 Chicago Tribune]

For tonight's "Lights Out" broadcast Arch Oboler has written a drama around a 
war horse getting revenge. The nag inspiring the story is Joan of Arc, 27 
years old, belonging to the 122d Field Artillery lancers. Joan served in six 
major world war engagements.

Don Mihan, young actor and production man at NBC, has been cast as Joan and 
yesterday was tuning up his best neighs and whinnies. He also gets to trample 
a man to death in the broadcast. Mihan's rôle must fill Mark Love, W-G-N 
basso, with envy. He recently portrayed a cow in a Chicago opera presentation.

[December 2, 1936 Kokomo (IN) Tribune]

A drama in which an old war horse is one of the central figures will be 
presented in the Lights Out program tonight at 11:30. Entitled "War Horse," 
the play draws its inspiration from a living steed named Jeanne d'Arc, 
believed to be the only survivor of a score of army horses returned to the 
United States from France following the World War.

[December 6, 1936 Kansas City Star]

Everybody Lives In Murderless "Lights Out" Story Wednesday. 

"Nobody Died" -- or will die, at least -- in the "Lights Out" drama by that 
name to be heard over WDAF at 11:30 o'clock Wednesday night. 

The murder-less "thriller" is a tale of a young scientist in a modern European 
militaristic state who discovers a way to make the old young. War comes and 
the dictator forces the scientist to turn over his secret process for use in 
increasing the [army?]. The climax of the play, as all "Lights Out" dramas do, 
will be heard as the midnight hour nears. 

[December 16, 1936 Kokomo (IN) Tribune]

In "Poltergeist," Arch Oboler has undertaken the feat of telling a story of 
events which, in his own words, "are guaranteed to put goose-pimples on a 
billiard ball," for the Lights Out broadcast at 11:30 o'clock tonight. Three 
young girls who live in a small New England town go on a picnic and 
unintentionally dance on the graves in an old deserted cemetery. What happens 
is said to be based on an authenticated case and is something that can happen 
again under similar circumstances, according to Oboler.

[December 23, 1936 Washington Post]

"Afternoon of a Faun"--Play suggested to Author Arch Obeler [sic] by Debussy's 
"L'Apres Midi D'Un Faun," with musical accompaniment, in "Lights Out," WRC, at 
12:30 a. m. 

[December 23, 1936 Chicago Tribune]

11:30--WMAQ--Lights Out; Arch Oboler's version of "The Afternoon of a Faun."

[December 30, 1936 Chicago Tribune]

11:30--WMAQ--Lights Out--Arch Oboler's "Murder Below."

[December 30, 1936 Kokomo (IN) Tribune]

Arch Oboler swings back to the middle ages for the setting of his Lights Out 
drama tonight at 11:30. Entitled "Sir Rat," the story concerns the demoniac 
machinations of a nobleman who entombs the beautiful ladies of his court when 
he tires of them. The way in which the ghosts of his victims obtain revenge on 
the nobleman provides the horror for the play.

[January 13, 1937 Winnipeg Free Press - You Will Hear ...]

... A doctor who has discovered [a] method of grafting human limbs from one 
body onto another with some particularly weird and gruesome results as the 
principal character in Arch Oboler's "The Devil in White," macabre drama 
written for the Lights Out broadcast at 11.30 p.m. (NBC). 

[January 20, 1937 Winnipeg Free Press]

Pain is the theme of "Beast of the Shamo," Arch Oboler's horror story for the 
"Lights Out" broadcast, at 11.30 p.m. (NBC.) The monster which lives in the 
mysterious vastness of Tibet, has developed an attitude toward physical pain 
that leads him to inflict it on those who fall into his clutches with an 
almost religious fanaticism. Some highly imaginative methods of torture are 

[January 29, 1937 Chicago Tribune - review of a 90 minute Mutual Broadcasting 
System special broadcast on January 28]

... For the dramatic portion, Blair Walliser presented a versatile crew of 
young actors recruited from the Broadway stage, Hollywood, and radio, in an 
oriental mystery play, "Chinese Gong," by Arch Oboler, young Chicago 

This play lacked the macabre touch that some of Mr. Oboler's "Lights Out" 
sketches have, but there was plenty of intrigue, mystery, evil and suspense. 
Brett Morrison, young film actor, and Elizabeth Hines, formerly of the 
Broadway stage, played the leads, with James Goss, Hugh Studebaker, Gene 
Byron, John Goldsworthy, Clare Baum, Norman Gottschalk, and Betty Ito in 
supporting rôles. Miss Ito, a Japanese, is a student at the University of 

Her presence and the fact that the cast appeared in full costume helped to 
give the production an added oriental touch so far as the studio audience was 
concerned. ...

[February 24, 1937 Chicago Tribune]

Arch Oboler, author of the macabre "Lights Out" ... and Eleanor Helfand, 
University of Chicago co-ed, yesterday admitted they had been married since 
last week-end. They plan to leave Chicago Friday by motor for a tour of New 
England. Oboler expects to visit a few haunted houses. After their wedding 
tour they will live in New York.

[February 24, 1937 Kokomo (IN) Tribune]

"Buried 1826," the story of a young girl whose body, buried in 1826, through a 
chemical freak has become a side-show exhibit in a wandering carnival ...

[March 3, 1937 Chicago Tribune]

The other day a report reached this desk that southern preachers are having to 
switch prayer meeting nights because of the popularity of Maj. Bowes on 
Thursdays. And now comes word from Evanston that Northwestern co-eds are 
letting Wednesday, the traditional mid-week date night, fall into disfavor 
because of the popularity of Lights Out, Arch Oboler's macabre plays. The 
Daily Northwestern, student newspaper, reported the other day that a campus 
survey indicated that at 11:30 Wednesday lights are out at dormitories and 
fraternity houses while the collegians shudder and shiver.

Mr. Oboler has a delectable dish ready for tonight. It's a tale about 
Sakhalin, the Siberian Devil's Island and recounts the commandant's use of 
prisoners as clay pigeons in his private shooting gallery.

[March 3, 1937 Kokomo (IN) Tribune]

The terrible happenings during the Czarist days on the dread island of 
Sakhalin, the Russian "Devil's Island," will be dramatized during Arch 
Oboler's Lights Out drama tonight at 11:30 o'clock.

[March 10, 1937 Winnipeg Free Press - You Will Hear ...]

... "Chicken Heart," a fantastical and horrible story originating from the 
fact that a bit of tissue from a chicken heart at the Rockefeller Institute in 
New York has for years been rapidly growing as the title and theme of Arch 
Oboler's Lights Out broadcast at 11.30 p.m. (WRC). In the drama, the heart 
grows at a progressively increasing rate until the very, existence of humanity 
is threatened by this great throbbing mass of flesh.

[March 17, 1937 Kokomo (IN) Tribune]
What goes on in the mind of the man who releases the trigger that drops the 
trap door and sends a man hurtling to his death at the end of a twisting rope? 
What thoughts seethe through the consciousness of the individual who pulls the 
switch that releases the volts of electricity into the body of a man in the 
electric chair? The answer to these questions will be dramatized In Arch 
Oboler's "State Executioner" at 11:30. 

[March 21, 1937 Lincoln (NE) Sunday Journal and Star - syndicated column 
"Behind the Mike" by Bruce Nicoll]

... Larry Holcomb, continuity director of the NBC central division, said last 
week the middle west was producing most of radio's script writers. He says 
"There is something about the people or the climate of the middle west which 
enables the spirit of reality to be caught and retained in writing more 
readily than elsewhere." 

"For instance," Holcomb pointed out, "Lights Out" that NBC midnight thrill 
show is written by Arch Oboler, a Chicagoan; Vic and Sade (Paul Rhymer), Girl 
Alone (Fayette Krum), Today's Children (Irna Phillips), Mary Marlin (Jane 
Crusinberry), Guiding Light (Irna Phillips), and Tale of Today (Gordon St. 
Clair), Holcomb says 80 per cent of radio's script shows come from Chicago. 

[March 24, 1937 Kokomo (IN) Tribune]

The gruesome tale of three medical students who accidentally run over a 
Chinese-and then try to get rid of the body, even though the man is not dead, 
will be the theme of "The Thirteenth Corpse," Arch Oboler's Lights Out drama 
for tonight at 11:30.

[March 31, 1937 Chicago Tribune]

The Chicago Mummers Theater group, an outgrowth of a Crane Junior college 
theatrical organization, will be featured as guest performers on the W-G-N 
Fireside Theater program at 9:30 tonight in the main studio. "The Luck of Mark 
Street," a mystery drama will be presented by Arch Oboler, with Al Short, 
Bernice Rea, Gertrude Berman, and Sam Malen in the leading roles. Milton 
Kanter will direct the performance and the musical background will be provided 
by Adrian and his orchestra.

[March 31, 1937 Kokomo (IN) Tribune]

"Homus Primus," the terrifying story of three persons of London's upper strata 
who, by a weird twist of time, find themselves back in the Stone Age ...

[April 7, 1937 Kokomo (IN) Tribune]

An authentic story of the occurrences during that horrible time in Russia when
a madman ruled will be the theme of Arch Obler's [sic] Lights Out program at 
11:30 o clock tonight.

[April 7, 1937 (Madison) Wisconsin State Journal] 

... "Ivan, The Terrible," de guy wot wanted to put everybody on de spot. ...

[April 8, 1937 Chicago Tribune]

... Henry Hull (of "Tobacco Road" fame) is to appear in "The Harp," a play by 
Arch Oboler, Chicago playwright, on the Vallee Varieties tonight. ...

[April 8, 1937 Indiana Weekly Messenger] 

Lights Out, a feature on KDKA has been moved from Thursday night to 7:45 

[April 21, 1937 Winnipeg Free Press - You Will Hear ...]

"Ghost Party," the story of Mr. and Mrs. Sam Hinckle, who prided themselves on 
their original parties, as the theme of Arch Oboler's "Lights Out" drama, at 
11.30 p.m. (NBC). But one night the Hinckles staged a fake seance—and the 
result, rather than amusing, was work for the coroner.

[April 28, 1937 Wisconsin State Journal]

"The Ninth Life," story of a woman in death row ...

[April 28, 1937 Kokomo (IN) Tribune]

"The Ninth Life," the story of a woman in the death cell will be the gruesome 
subject of Arch Oboler's Lights Out dramatic program, at 10:30.

[May 5, 1937 Wisconsin State Journal]

"I, Madman," the story of a man who, by some miracle, looks into the future 
and sees his own destiny as a madman ...

[May 12, 1937 Winnipeg Free Press - You Will Hear ...]

... The Lights Out drama, at 10.30 p.m. (NBC), based on a real house at 
Mamaroneck, N.Y., reputedly haunted and formerly the home of James Fenimore 
Cooper, which Author Arch Oboler recently visited and in which he promises to 
spend a night within the next two weeks, just to prove to himself that there 
are no such things as the ghosts he constantly writes about. The title of the 
drama will be "Organ", and a background of organ music will be heard 
throughout the broadcast. The story concerns a couple who get a strange 
bargain in a summer home--that is, a bargain until ghosts start playing non-
existent pipe organs. Debussy's "Clair de Lune" and Wagner's "Ride of the 
Valkyrie" will be among the numbers favored by the ghosts.

[May 19, 1937 Kokomo (IN) Tribune]

"Mad World," the weird story of a mad dictator who decides that as he is aging 
and must die, all mankind must die with him ...

[May 26, 1937 (Madison) Wisconsin State Journal] 

... "Until Dead" tells the story of a revenge that went beyond the grave. ...

[June 2, 1937 San Antonio (TX) Light]

... "Snake Woman," a drama about snakes and a woman with a strange power over 

[June 6, 1937 Lima News]

... The National Broadcasting Company originates 23 dramatic shows, involving 
110 performances and nearly 25 hours of network time, each week from its 
Chicago studios in the Merchandise Mart. ...

[June 6, 1937 Lima News]

Chicago is the home of the "Theater of the Airlanes." In the setting of 
wailing saxophones and crashing cymbals that marks Chicago, radio has 
discovered and developed the new form of microphone drama. And today Chicago, 
rather than New York, is the dramatic headquarters for radio. 

It is there then that we discover the man of many deaths. Willard Waterman is 
his name. His life in the radio theater has been a dying one ever since he 
started on the ether waves two years ago. Although he has been given up for 
dead many times and is killed continually, he still remains very much alive on 
the "Girl Alone" program, in which you hear him as "Leo Warner." 

Waterman has been dying on the air ever since his first production, in which 
he was killed off in the first chapter of a radio serial. His second role was 
the most important part in the first sequence of another new serial. But the 
last line also proved to be the last the character he was portraying spoke. It 
was a death line. 

His death role was in a flashback showing a character already dead, as of the 
present. Most of his dying has taken place in Arch Oboler's midnight 
thrillers, "Lights Out." But out of these deaths Waterman has been able to 
make a very good living. ...

[June 9, 1937 Wisconsin State Journal]

"Forty-Seventh Street Precinct", a story suggested by the coming abandonment 
of the famous West Forty-Seventh street police station in New York City, will 
be the subject of Arch Oboler's Lights Out program, tonight ever WIBA at 
10:30. The drama will concern the return of the public enemies of yesterday 
who stalk through the scene of their final minutes in this world.

[June 10, 1937 The Indiana Weekly Messenger]

Arch Oboler ... has a dictaphone in his bedroom which he uses only at night. 
He'll lie down on his bed with a package of cigarettes at hand, start the 
dictaphone, and actually enact every line of his script. Sometimes he can do a 
whole show in half an hour, but sometimes it takes him as long as three or 
four hours. He plays the dictaphone rolls over afterwards to check on the 
characterizations and effects. If they're satisfactory, Arch turns over on his 
side, and goes to sleep. 

In the morning, his stenographer types up the results of the previous night's 
work, and there you have the finished product, another play by Arch Oboler. ...

[June 16, 1937 Kokomo (IN) Tribune]

"The Meteor Men," a story of the invasion of the earth by a strange breed of 
supermen from interstellar spaces ...

[June 23, 1937 Wisconsin State Journal]

At the insistence of a listener to the Lights Out program, Arch Oboler has 
written a script entitled "Happy Ending," for presentation over WIBA tonight 
at 10:30. The listener threatened the author with one of his own macabre 
endings unless he let the heroine live to the end of the broadcast.

[June 30, 1937 Wisconsin State Journal - "The Cave"]

The gripping, thrill-packed story of two college girls lost in the fearsome 
depths of Carlsbad Caverns, fantastic cavities beneath the desert of New 
Mexico, will make up the plot of Arch Oboler's "Lights Out" drama tonight over 
WIBA at 10:30. Many new techniques in sound effects will be used during the 
drama to reproduce weird noises of subterranean activity.

[July 2, 1937 San Antonio (TX) Light]

Dialers who are familiar with the Carlsbad Caverns got a real thrill out of 
Arch Oboler's Lights Out drama this week. . . . The sound effects of dripping 
water and distressed voices ringing out underground were excellent. . . . 
Announcement has been made in response to numerous inquiries, that visitors 
are not allowed in the studio during the Lights Out broadcasts.

[July 7, 1937 Wisconsin State Journal]

"Brain Wave," a strange story of a man who discovered the way to intensify 
mental activity until it reached out like a living entity and influenced other 
minds, will be Arch Oboler's spine-tickling Lights Out drama for tonight, over 
WIBA at 10:30. The thriller is based on recent developments in brain research 
which have definitely established the fact that the human brain creates 
electrical impulses when in activity. 

[July 14, 1937 San Antonio (TX) Light]

Here's some advance dope on Arch Oboler's Lights Out drama for tonight 

"Lord Marley's Guest," the story of "the most unusual swimming party since 
time began," will be the title of the thilller. 

The story was inspired by a recent experience of Author Oboler while on a deep 
sea fishing trip. Reactions of his characters, he says, will be merely a 
reflection of his own feelings when he saw the horrible thing his hook brought 

[July 11, 1937 Los Angeles Times - RADIOPINIONS column by Dale Armstrong]

... and whatever became of Shaindel Kalish, the now 22-year-old actress 
featured in N.B.C.'s "Lights Out." She was the one of the most beautiful radi-
actresses whose picture ever appeared in the paper. ...

[July 18, 1937 Los Angeles Times - RADIOPINIONS column by Dale Armstrong]

... Shaindel Kalish, who formally [sic] starred in N.B.C.'s "Lights Out," is 
back in Chicago, with no definite radio plans. At Universal Pictures, she 
started out as Ann Preston, then became Judith Blake for an opus called 
"Parole." She's married to Charles K. Freeman. I still think she's one of the 
most beautiful gals in radio. (Note that I said "one of the.") ...

[July 23, 1937 Chicago Tribune]

Lights Out, NBC's Wednesday night horror drama, has been withdrawn -- just to 
see whether listeners are still faithful to it. If you want it back, write to 
WMAQ. Arch Oboler writes the sketches.

[July 31, 1937 The Hammond Times]

Radio Short Circuits


The announcer no longer says "Lights out, Everyone!" on Wednesday nights at 
11:30. In fact, the whole program has vanished from the air, partly for a 
vacation and partly because NBC wants to take soundings of the public desire 
for its return. Complaints have been registered with us over its absence and 
we publish the fact, hoping that NBC's programmers will take the hint.  

People like to be frightened. There lies a morbid fascination in watching a 
ghost floating in the moonlight under your castle window, if you happen to be 
so fortunate as to be supplied with a floating ghost or a castle window. 
"Lights Out" was a program designed to satiate this desire in humanity. In 
this region, at least, it had become a ritual to band together in collectively 
geared Lights Out parties and listen to the half hour in trembling awe. 
We never listened to it unless we had to, because weird themes find a soft and 
clinging bed in our impressionable mind, and we don't particularly care to 
invite nightmares to a command performance in our bedroom. Bats and black cats 
aren't exactly comforting bedfellows even to our zoophilic nature, and we 
absolutely draw the line when a dark mauve Gila monster begins speaking with a 
Spanish accent in a deep bass voice.

[September 25, 1937 Bismarck Tribune (Bismarck, North Dakota)]


Scores of Petitions from Radio Fans Brings About Resumption of Ghost Program

Scores of petitions, bearing from five to 50 signatures, and hundreds of 
letters from individual listeners, have resurrected the horror drama program, 
"Lights Out," for the second time in its three year history.

After an absence of two months the program will return to the NBC-KFYR network 
at 11:30 p.m. (CST), Wednesday, Sept. 29, and will be heard weekly thereafter.

"Lights Out," which first went on the air in 1934, was discontinued for a few 
weeks in 1935, but had to be brought back because of the clamor set up by its 
hardy, ghost story loving audience. And again during the past summer when it 
was cancelled, listeners proved loyal as ever and vehemently demanded its 
return, with the result that it is now being reinstated.

"Glacier Woman," a weird story of Russian Polar explorers, will be broadcast 
Sept. 29. In this production, Author Arch Oboler uses the flashback device. As 
the script opens, one of the explorers is on trial for treason; then the 
action flashes back to events on a Polar glacier. Oboler heightens the 
dramatic intensity by using the old "Lights Out" trick of presenting a 
dramatic monologue against a background of sound effects importing the mood of 
the flashbacks.

Oboler, youthful Chicago writer, is one of the best-known and one of the most 
prolific of all radio authors. He has written "Lights Out" programs since June 
1936, and has been author of many plays and playlets on Campana's First 
Nighter, Grand Hotel and Rudy Vallee broadcasts. The Irene Rich dramatic 
series, also on NBC, is from Oboler's pen.

[October 10, 1937 Lima News]

Irene Rich will play the role of a young girl who suddenly finds the peace and 
quiet of the North Woods area alive with excitement in "Fugitive," her vehicle 
for Sunday, at 9:45 p. m., over WJZ radio, [...?] the only connection with the 
outside world warns of an escaped prisoner in the vicinity.

A breathless and insistent young man who suddenly appears out of the night 
brings events to a stirring climax. Henry Hunter will enact the young man in 
the drama which was written by Arch Oboler. 

[October 20, 1937 (Uniontown, PA) Daily News Standard]

Those of you radio fans who enjoy a good ghost story, or thrilling yarn along 
with your midnight cakes and coffee will have a dandy time shivering and 
shaking tonight at one-half hour past midnight when NBC-WCAE present another
thrilling, super-guaranteed "Lights Out" drama. Tonight the mysteries of 
mysterious Egypt will serve as a background for the horror radio sequences. 
Arch Oboler, mystery author, is responsible.

[October 29, 1937 The Hammond Times]


In attractive, gaudy costumes, members of the YDAL club and their guests were 
a gay crowd when they arrived at the home of Miss Kathryn Dempsey in Bauer 
street Wednesday evening for a Halloween party. Masks were removed after 
everyone's identity had been guessed by the couples, who then enjoyed a series 
of games and dances. 

At 11:30 o'clock, the lights were dimmed for the "Lights Out" radio program 
that was suitable entertainment for an eerie Halloween gathering. 

The serving of a tempting lunch [sic] brought the party to an end. 

Miss Gene Thompson of Harrison avenue will entertain the club next Wednesday.

[November 3, 1937 Kokomo (IN) Tribune]

"Four Husbands" ... Arch Oboler's drama of a female Bluebeard ...

[November 10, 1937 The Hammond Times]

Arch Oboler's hair-elevator tonight on Lights Out shall be "Compound Interest" 
a tale of revenge.

[November 10, 1937 Dallas Morning News]

The Lights Out drama for WFAA at 11:30 p.m. Wednesday, penned by crack radio 
playwright Arch Oboler is "Compound Interest," a yarn about revenge which 
compounds through the years. It climaxes adventurously in a bank vault.

[November 17, 1937 Kokomo (IN) Tribune]

"Little Old Lady" will be the title of Arch Oboler's Lights Out program 
tonight at 11:30. The tale of horror tells of the fantastic adventure which 
overtakes two college co-eds who pay an unexpected visit to a relative of one 
of the girls. 

[December 1, 1937 Appleton Post-Crescent]

"Death Pit," a drama by Arthur [sic] Oboler, will thrill listeners on the 
Lights Out program over WENR at 11:30 tonight. The drama is a story of what 
might have happened to a human being trapped in the La Brea tar pits in Los 
Angeles 12,000 years ago.

[December 8, 1937 Hammond Times]

Sun beings infest the earth when Arch Oboler's Lights Out takes the air 
tonight ... under title, "The Flame Men."

[December 8, 1937 Circleville (OH) Daily Herald]

"Flame Men" ... fantasy

"The Flame Men" is "Lights Out" thriller heard over NBC, Wednesday at 12:30 
a. m. EST. A fantastic story of a visit to our earth by an incandescent being, 
whose origin was in the torrid depths of the sun and who has entered our 
atmosphere with catastrophic results to mankind, brings plenty of action to 
horror-fans Wednesday evening.

[December 8, 1937  Wisconsin State Journal]

"Studio Apartment," tale of a "Thing" brought to life.

[December 15, 1937 Kokomo (IN) Tribune]
"Studio Apartment," an Arch Oboler thriller laid in the home of an 
internationally known sculptor, will be the Lights Out drama for tonight at 

[NBC publicity for the December 22, 1937 episode. A rebroadcast of Wyllis
Cooper's "Three Men" script aired on that date instead.]

Arch Oboler, noted melodramatist of the air waves, enters the realm of the 
thought-provokers this week with a new play called "Uninhabited"... Herein Mr. 
Oboler deigns to suggest what would happen if all the war-minded dictators, 
munitions makers and international profiteers were congregated on a small 
island in the South Pacific and allowed to work out their own profit-seeking 

[December 29, 1937 Kokomo (IN) Tribune]

A visit into a dimension beyond our own will be taken by listeners to "The 
Dark," Arch Oboler's drama for presentation on Lights Out at 11:30 o'clock 

[January 26, 1938 Appleton Post-Crescent]

"Oxychloride X," a story of the world catastrophe which takes place when a 
chemist concocts a destructive substance which eats away steel and glass, will 
be heard on Lights Out program ...

[February 2, 1938 Appleton Post-Crescent]

"Front", a ghost story by Arch Oboler concerning the strange events which will 
take place when supernatural forces take over a suite in a world famous hotel, 
will be dramatized on Lights Out ...

[February 2, 1938 Hammond Times]

The bombing of a radio station by a maniac is the theme of Lights Out tonight, 
11:30 WMAQ ...... say-yy-y! That's an idea! After all, we're getting tired of 
Bei Mir Bistu Shein ennyho. [sic, refers to hit pop song "Bei Mir Bist Du 
Schoen"] ...

[February 2, 1938 Kokomo (IN) Tribune]

"Death Letter," an original thriller written for radio, will be the Lights Out 
drama tonight at 11:30. The story is woven about a detective and a girl owner 
of a radio station who become the targets for attacks by a maniac. The madman 
bombs the radio station and the girl and man come back from death to frustrate 
further outrages on the part of the bomber.

[February 9, 1938 Hammond Times]

"Screen Test" is the Lights Out drama tonight. A screen idol and seven 
mysterious old ladies meet in a haunted room of a strange, out-of-the way 
hotel ... and the screen idol has quite a time, let me tell you kid. 

[February 9, 1938 Appleton Post-Crescent]

... "Screen Test", another play by Arch Oboler, will be presented on [the] 
"Lights Out" program at 11:30 over WMAQ and WTMJ. It is a story concerning the 
unbelievable events which take place in a Hollywood studio during the filming 
of a super-special production. ...

[February 16, 1938 Appleton Post-Crescent]

"Murder Castle", an Arch Oboler drama, based on the story of the "Holmes 
Murder Castle" in Chicago will be heard on Lights Out program ... "The Castle" 
is the scene of 27 murders before the criminal is eventually captured and 

[February 23, 1938 Appleton Post-Crescent]

... "Ogre Wall," a new play by Arch Obeler, [sic] will be heard on [the] 
"Lights Out" program at 11:30 over WMAQ and WTMJ. It is a story of the 
attempts by two adventurers to climb the famous "Sigerwand", a great mountain 
wall in the Alps that has never been conquered. ...

[March 2, 1938 Chicago Tribune]

Here's an item that will make you Lights Out fans shudder for weeks to come. 
Boris Karloff, who specializes in horror rôles in pictures, is coming here 
March 23 and will remain for five weeks to be the headliner on this macabre 
Wednesday night show on NBC. Arch Oboler, who arranged with Karloff to do the 
guest appearances, will write a group of plays specially suited to his 

He will be supported by Betty Winkler, Betty Caine, Helen Behmiller, Harold 
Peary, Phil Lord, Macdonald Carey, Arthur Kohl, and others. G. P. Hughes 
directs the show and Bill Joyce handles those awful sound effects.

[March 2, 1938 Appleton Post-Crescent]

Arch Oboler's play, "Mother-In-Law," will be dramatized on "Lights Out" 
program at 11:30 over WMAQ and WTMJ. The story gives some ideas on how to 
remove unwelcome visitors from the home.

[March 2, 1938 San Antonio (TX) Light]

Arch Oboler's Lights Out drama, "Mother-in-Law," deals with the thoughts of a 
murderess about to commit suicide to escape her conscience—this on N. B. C., 
but not locally, at 11:30 o'clock tonight.

[March 13, 1938 Kansas City Star]



Arch Oboler, Author of the Show, Will Write Five Special Programs for 

Boris Karloff, famous horror actor of the screen, is going on the air in 
radio's most famous horror dramatic series, Lights Out.

His first appearance on the program will be on the broadcast of Wednesday, 
March 23 at 11:30 o'clock over WDAF and the red network.

His contract calls for his appearance on five of the Wednesday night Light Out 

For Karloff, Arch Oboler, Lights Out author, is writing five original radio 
melodramas, each designed to bring out the special talents of the noted actor. 
Karloff. whose most famous role in the movies was that of "Frankenstein's 
Monster," will broadcast from the Chicago studios.

Light Out recently marked its fourth anniversary on the air. A hit from its 
beginning, it has increased in popularity until it is now one of the most 
widely followed programs on the air. Once the program was dropped to make way 
for another show. So insistent were the demands for its return that soon it 
was back.

The technique of directing the program which has prevailed throughout its life 
will not be changed. G. P. Hughes, director of the program, will rehearse the 
cast in a darkened studio with shaded stand lamps providing enough light for 
the actors at the microphone. 

A recent audience poll of Lights Out brought thousands of letters from 
listeners. Among the writers were astronomers from the Mt. Wilson Observatory, 
faculty members of the universities as far apart, geographically, as Harvard 
and the University of Texas; students, clerks and businessmen.

Karloff never misses a Lights Out broadcast if he can help it.

"I always have been interested in plays that deal in the supernatural," the 
actor said in speaking of the program. "I am glad that my screen schedule 
permits me to join the Lights Out cast for these five programs."

[March 14, 1938 Logansport (IN) Pharos-Tribune]

The struggle of two men to vanquish remorse forms the theme of "Super 
Feature," the Lights Out thriller for Wednesday, March 16, at 11:30 p. m. 
(CST) over the NBC-Red network. The story, written by Arch Oboler, dramatizes 
the climax in the life of a ruthless killer and his ignorant, helpless dupe. 

[March 16, 1938 The Lowell Sun]

Boris Karloff, who will star in a series of five "Lights Out" dramas over the 
NBC Red network starting March 23, will leave Hollywood this week with Arch 
Oboler, writer of the series. They will pick up Betty Winkler, feminine lead 
opposite Karloff, in Wickenburg, Arizona, where she has been vacationing, and 
will rehearse the opening show en route to Chicago from where the programs 
will originate. 

[March 16, 1938 Hammond Times radio column]

... WWAE Program Director Del Obert sez: Watch out for our Saturday night 
Jamboree at 11, followed by Adela Kay's Chamber of Horrors at 11:45. The 
latter is better than Lights Out, but then who am I to say? Mlle. Mimi Kay is 
basing her intimidations on the Wax Crimes she saw in Mme. Tussaud's as a 
chee-yild. ...

[March 22, 1938 Oshkosh Northwestern - syndicated Radio Around the Clock 
column by C. E. Butterfield]

Boris Karloff, who by his screen roles has gained the title of "horror man" of 
the movies, now is to become the "eerie man" of the radio. Starting Wednesday 
night he is to make a series of appearances in the late-hour Lights Out 
broadcast of WEAF-NBC at 11:30. 

To start things off Karloff will do a revival of "Cat Wife," a favorite horror 
drama of the Lights Out listeners. It seems they wrote in and wanted him to do 
the piece, as full of shivers as anything that Lights Out has presented.

[March 23, 1938 Fresno (CA) Bee]

Boris Karloff Headlines New KMJ Broadcast ... 

Boris Karloff, famous for his portrayal of so-called "horror" roles in motion 
pictures, will make his debut tonight in a new series of Lights Out dramas, 
which will be heard over KMJ, The Fresno Bee Radio, between 10:30 and 12 P. M. 

The Lights Out series, which has been on the air in the East for a long 
period, has won the distinction of being radio's most famous series of this 
type of dramatic production, and Karloff was engaged for a special series of 
five productions which will be broadcast over the coast to coast Red Network 
of NBC. 

Karloff's first vehicle is The Dream. It was written by Arch Obeler, [sic] 
radio playwright, who also is the author of the other plays  be offered in the 

Obeler has included in this play many of the unusual techniques developed in 
connection with the Lights Out programs. 

Karloff portrays a murderer awaiting the verdict of the jury before which he 
has just been tried. What takes place in his mind comprises most of the drama. 

Mercedes McCambridge has been substituted in the chief feminine role for Betty 
Winkler, who was originally announced as the female star. Others of the NBC 
staff who will he in the supporting cast are Templeton Fox, Arthur Peterson, 
Raymond Johnson and Bob Gilbert. 

The series will be presented each Wednesday at the same hour. 

[March 23, 1938 Lima News]

... Horror Drama Will Be Repeated With Karloff

... As the result of a flood of requests for the revival of "Cat Wife," a 
horror drama heard before on the Lights Out program, this play will be the 
vehicle for Boris Karloff, "horror" actor of the films, when he makes the 
first of five appearances on the popular NBC melodrama on Wednesday night, 
March 23, at 12:30 a. m. EST, over the NBC-Red Network.

"Cat Wife," the tale of a neurotic wife, was one of the most popular plays 
ever offered on the program, and for months listeners have been writing in to 
ask that it be repeated.
For the other four broadcasts in which Karloff will star, Arch Oboler is 
writing original radio plays. 

Karloff, most noted for his portrayal of the monster in the film, 
"Frankenstein," will arrive in Chicago on Sunday, March 20, to start 
rehearsals for his first Lights Out broadcast. ...

[March 26, 1938 Los Angeles Times radio column by Dale Armstrong]

... So far there hasn't been much of a fuss raised over the Boris Karloff 
rendition of Arch Oboler's horror lines in the initial "Lights Out" 
presentation this week. Though the program comes into the home at 10:30, after 
most of the children are in bed, it's still too grewsome [sic] and bloody for 
general public taste. A few more of these horrible chillers, a continued 
degeneration of radio "comedy," the further air-use of "cleaned-up" burlesque 
and smoking room jojes, and radio is going to get a spanking that will be well 
deserved. It should be noted, on the credit side, that radio drama has 
improved tremendously, while the variety shows and comedy programs and have 
been sliding downhill. ...

[March 30, 1938 Fresno (CA) Bee]

... Another feature on the air over KMJ tonight is the second appearance of 
Boris Karloff in the "horror" drama series entitled Lights Out.
On the air at 10:30 P. M., Karloff will appear in the role of an Englishman 
unjustly imprisoned for life on Devils Island. His suffering and attempts to 
escape to wreak vengeance on the person responsible for his imprisonment form 
the subject matter for the drama. 

The subject of the drama, Valse Triste, also will be used as theme music on 
this occasion, one of the few in which music is heard during these programs. 
This story, like the first of the series, was especially written for Lights 
Out by Arch Obeler. [sic]

[April 2, 1938 The Lowell Sun]

A beautiful old cameo adorns the neck of Betty Winkler, "Lights Out" star. 
It's a gift of an admirer in Pennsylvania who recently died. The woman, who 
was 90, had been a faithful listener to all of Betty's broadcasts and in her 
will she dictated that the cameo--more than a century old--be sent to her 
favorite radio actress. 

[April 6, 1938 Winnipeg Free Press - You Will Hear ...]

. . . Cat Wife, the story of a neurotic wife, as the third Lights Out vehicle 
for Boris Korloff, famed horror actor of the screen, when it is presented over 
the NBC-Red network at 11.30 p.m. (WENR). Karloff believes the play, which is 
being revived at the request of thousands of Lights Out listeners, is one of 
Oboler's best. 

[April 13, 1938 Fresno (CA) Bee]

The haunting memory of a girl he sent to her death will be told in tonight's 
Lights Out drama staring Boris Karloff, with Mercedes McCambridge in the role 
of the girl. 

The girl returns to haunt Karloff in the flame on his match and of his 
fireplace, and the way in which the flames of three matches serve to revenge 
the wrong committed by the star gives the tale its title of Three Matches.

[April 13, 1938 Kokomo (IN) Tribune]

The flaming souls of three matches will reach out horrid fingers to exert a 
just revenge on Boris Karloff in the "Three Matches" horror drama to be 
presented in the Lights Out broadcast at 11:30.

[April 20, 1938 Appleton Post-Crescent]

"Night On the Mountain," starring Boris Karloff will be heard on Lights Out 
program at 11:30 tonight over WMAQ and WTMJ. The story was inspired by 
Moussorgsky's composition, "Night On Bald Mountain."

[April 20, 1938 Fresno (CA) Bee]

Karloff Closes As Star Of Air Dramatic Series

Fifth Drama Is Based Upon Musical Composition By Moussourgsky

The final appearance of Boris Karloff, star of the stage and screen, in the 
leading role in the radio series of "horror" dramas, written by Arch Obeler, 
[sic] will be one of the outstanding features of tonight's broadcasts by KMJ, 
The Fresno Bee Radio.

The play, Night On The Mountain, opening at 10:30 P .M., was inspired by the 
weird musical composition by Moussourgsky titled Night On Bald Mountain. 
Karloff assisted Obeler in preparing the script, which tells the story of a 
condemned murderer who escapes from the death cell an hour before the 
appointed time for his execution. 

The play also climaxes two years of effort by Obeler to write a Lights Out 
thriller in harmony with the music, which he achieved after calling upon 
Karloff for assistance.

[April 23, 1938 The Bismarck Tribune]

Arch Oboler, Author of 'Lights Out' Can't Just Sit Down and Write Story 


Abandons Typewriter in Favor of Dictaphone So That Dialogue Will Be Better 


Has Prepared Work for Walter Huston, Rudy Vallee and Irene Rich, Among Others 

Chicago, Apr 23 "Plots aren't to hard to find. It's the dressing of the plots 
that takes thought and time." 

Arch Oboler, author of the "Lights Out" thrillers in which Boris Karloff, 
famed "horror" actor of the screen, is now starring, waves his hand and 
dismisses the inquiry. Oboler is in Chicago at present writing the vehicles 
through which Karloff brings spinal shivers to listeners each Wednesday night 
at 11:30 p m (CST). 

"Perhaps I'm Different"

"No," the author continues, "it's not the plots that are so hard. They seem to 
come easy. But it takes a lot of work to get them all built up. 

"Perhaps I am different from many writers" he explains. "You see, I can't 
write with my finger tips. That is I can't just sit down and bat out a story. 
I have to have it all built in my head first. 

"Weeks before I write a play I begin to think about it. Often folks think I am 
a loafer, because I just wander around picking up a magazine, then dropping it 
without even looking through it, sitting, walking, watching people pass by. 
But all that time the story is building.  

"For 'Lights Out' I can often outline a dozen stories in advance. But I 
couldn't just sit down and write them the moment the outline is done. 

"Another belief of mine is that working on a typewriter makes me try to be 
literary at the expense of my dialogue. So I use a dictaphone. Once the story 
is complete in my mind I sit down and dictate it. Then a stenographer 
transcribes it and I read it over. Sometimes it sounds so bad I just throw it 
away and start all over again.

Writes Various Types 

"It's all part of the game. But don't let anyone tell you writing isn't hard 
work. If I wrote just one type of thing, maybe it would be easier. But the 
thrillers for 'Lights Out' are just one type. I have written dozens of other 
things. I have supplied scripts for Rudy Vallee and I wrote an Abraham Lincoln 
play for Walter Huston. Then I have done lots of 'boy meets girl' pieces for 
Irene Rich.

"When I start on a piece I get my mind set for the type of thing I intend to 
do. Then I plan it, get it all straight and write it sounds easy, doesn't it. 
But just that takes days sometimes." 

Oboler intends to return to Hollywood when Karloff's present contract for 
"Lights Out" is completed.

[April 27, 1938 Appleton Post-Crescent]

"They Died" is the title of tonight's "Lights Out" thiller at 10:30 over WMAQ 
and WTMJ. It is the story of a young couple pursued by a strange malignant 

[May 4, 1938 Winnipeg Free Press - You Will Hear ...]

... Devil's Island, as the Arch Oboler play to be presented on the Lights Out 
programme, at 10.30 p.m. (NBC-CKY) on the initial Canadian broadcast. The play 
is built around the theory that if there is no justice in life there may be 
justice in death. The locale of the drama will be the French penal colony in 
French Guiana. The story will deal with the fate of an English prisoner who 
unjustly has been sentenced to the living death of the notorious prison. The 
story is based upon a true incident which occurred in the early part of the 
20th century.

[May 8, 1938 Helena Daily Independent]

Q. How is the sound of an electrocution made in the Boris Karloff Lights Out 

A. Radio Guide says that the electrocution of a criminal in the Karloff dramas 
is achieved by radio technicians with a frying pan of bacon sizzling on an 
electric grill plus the sound of flying sparks obtained from an ordinary 
telegraph key and dry-cell battery.

[May 11, 1938 Kokomo (IN) Tribune]
The horrors of the labyrinths of the sewers of Paris will form the basis for 
the thrills in Arch Oboler's "It Happened" on the Lights Out program at 10:30 
this evening.

[May 14, 1938 Radio Guide]

The title of tonight's drama by Arch Oboler is "It Happened." The thriller 
concerns the plight of an American girl who gets lost in the sewers of Paris.

[May 13, 1938 Appleton Post Crescent - Post Mortem column by "jonah-the-

... One of the more painful things about daylight saving time is the fact that 
the "Lights Out" program (of super-collossal horrors) now comes on at ten 
thirty, standard time, thereby giving more of us a chance to get all built up 
for a dandy nightmare. 

I often wonder whether Arch Obeler, [sic] author of these pieces, has much 
trouble sleeping. 

At any rate, do not let your youngsters hear these blood curdlers, even if 
your offspring stay up that late. 

[May 18, 1938 Winnipeg Free Press - You Will Hear ...]

... Good, Bad, Indifferent, Arch Oboler's weird drama of the amazing events 
which take place at an English house party, presented on the Lights Out 
programme at 10.30 p.m. (NBC-CKY). The plot is based on a local superstition 
that at a certain time of the year three persons die -- one good, one bad and 
one indifferent. The dramatization of the deaths, unearthly in their 
relationship to the superstition, will be heard from the NBC Chicago studios. 

[May 25, 1938 Circleville (OH) Herald]

Mrs. Crazy . . . thriller 
"Lights Out"—NBC, 11:30 p. m. 

Wednesday night's thriller by Arch Oboler is the story of the strange revenge 
an insane woman takes upon her accusers. The story is based upon an element of 
truth, in that a similar incident did take place at a well-known state 
institution [for the insane]. 

[June 1, 1938 Winnipeg Free Press - You Will Hear ...]

... Scoop, a newspaper drama to end all newspaper dramas, as the latest Arch 
Oboler thriller booked for the Lights Out broadcast, at 10.30 p.m. (NBC-CKY). 
Highlighting the programme, which is replete with horror, will be the sound of 
a strange newspaper sheet -- printed, according to the script, on human skin. 

[June 4, 1938 Bismarck Tribune]

... Ken Robinson, continuity editor of the NBC Central Division, ... sees 
approximately 2,000 amateur radio scripts every year and listens to as many 
ideas verbally presented. ...

... Chicago is the point of origin for a number of top-ranking scripts by 
writers who learned to write for radio after specializing in something else. 
For instance, Fibber McGee and Molly is written by a former cartoonist, Don 
Quinn; the Woman in White and the Guiding Light are written by Irna Phillips, 
one-time elocution teacher; the story of Mary Marlin is the brainchild of Jane 
Crusinberry, once a singer; Girl Alone is the mental product of Fayette Krum, 
ex-newspaper reporter; Lights Out is the work of Arch Oboler, erstwhile free 
lance magazine writer. In addition to writing Dan Harding's Wife, Robinson 
oversees all staff continuity prepared by his five assistants, four men and a 
girl--Leslie Edgley, William Hodapp, J. L. Frazier, William Murphy and 
Katherine Persons. 

[July 27, 1938 San Antonio (TX) Light]

The Light's [sic] Out drama over N. B. C. ended last Wednesday. They will be 
resumed next fall. Dance music will be beard at the Lights Out spot on WOAI 
at 10:30 tonight. 

[October 5, 1938 The (Connellsville, PA) Daily Courier]

... The scheduled fall premiere of "Lights Out" has been cancelled. ...

[October 19, 1938 Nebraska State Journal]
... Lights Out returns with new series of horror and mystery plays. 

[NBC publicity for the December 21, 1938 episode, another rebroadcast of 
Wyllis Cooper's "Three Men" script.]

... a story of reincarnation, which has become a LIGHTS OUT Christmas 
tradition. The play deals with the strange experience of three officers, a 
Frenchman, an Australian and an American...

[February 14, 1939 Logansport (IN) Pharos-Tribune]

"Jerico", an original radio drama by Katherine Persons, will be presented on 
the Lights Out program, Wednesday, February 15, at 11:30 p. m. CST over the 
NBC-Red network. The play, directed by Gordon T. Hughes, tells what happens 
when a thief robs an inventor of a disintegrator which he had hoped would be a 
boon to mankind.

[March 25, 1939 Lima News]

Boris Karloff, Frankenstein monster of the screen, was the inspiration for 
"The Ugliest Man in the World," premiere production of Arch Oboler's Plays, 
new series of original dramas of the fantastic and of the imagination to be 
produced by NBC. 

The play will be broadcast over WEAF Saturday at 10 p. m. 

Two years ago [sic] Karloff and Oboler were drawn together in NBC's Midnight 
thrillers, "Lights Out." Karloff was starring in the spine-tingling 
productions and Oboler was then writing them. One day the two sat down at 
lunch and discussed the many distorted-faced characters Karloff had portrayed 
on the screen. 

"That was the beginning of 'The Ugliest Man in the World'," Oboler explained. 
"But don't misunderstand me. Boris himself is one of the handsomest men in the 
world in a virile way, but these ugly monster roles set me thinking. What 
would happen to the man who was so ugly that children would scream in fright 
when they saw him, who was such a shocking spectacle that even his mother's 
life became unbearably unhappy? How would such a man react to people and to 
love? What childhood would he have?" ...

[March 29, 1939 Hammond Times - syndicated column Radio Short Circuits by Paul 
K. Damai]

ARCH OBOLER PLAYS (Sat 9 pm WCFL) Oboler is overrated -- or at least thus run 
our sentiments. Occasionally he socks the carillon but even when he clicks his 
writings have a monotony. A demi-moribund air pervades too thickly not only 
the confines of his whole works but hangs heavy in the subdivisions comprising 
the individual MSS. Such lack of versatility earns criticism.

The first in this new series "The Ugliest Man In The World," was one of 
Oboler's better efforts. Not only that, it had a happy ending, which is 
surprising for a psychological study where a suicide seemed to be the only 
hackneyed but expected solution. Not romantic, but psychological said Author 
Arch after the play, describing the aims and modus operandi of the series. 
Oboler betrayed an excellent mike delivery, and displayed that which gave us a 
vague notion that here might be better actor than playwright.

The series is of a very high type and decidedly an addition to the enrichment 
of the air if the present form is maintained. 

Oboler's Play for this week is "The Mirage," a drama with only two characters. 
... these will be enacted by Joan Blaine (Mary Marlin) and Raymond Johnson 
(who played to the hilt last Saturday's "Ugliest Man"). 

[April 25, 1939 Logansport Pharos-Tribune]

"Lights Out everybody!" Those shivery words, dripping with portentious 
possibilities for every Lights Out melodrama fan, will be uttered before a 
studio audience for the first time [sic] in five years when "The Devil's Due" 
is presented on the fifth anniversary of the unique program at 11:30 p. m., 
CST, Wednesday, April 26, over the NBC-Red network.

[April 26, 1939 The (Madison, WI) Capital Times]


Another headline attraction for WIBA listeners will be the special "Lights 
Out" drama to he presented tonight at 11:30 on the fifth anniversary of this 
popular ghost-hour series. 

June Travis, glamour girl who deserted the movies for radio, will make her 
debut in a feature role as the only girl in a cast of seven actors in "The 
Devil's Due," an original drama. Miss Travis is the daughter of Harry 
Grabiner, vice president of the Chicago While Sox. 

Arthur Kohl will be heard as His Satanic Majesty, and others in the cast are 
Sidney Ellstrom, Cliff Soubier, Robert Griffin, Phil Lord and Pat Murphy.

[April 29, 1939 Lima News]

... Because Arch Oboler considers her to be one of the most talented young 
actresses in radio, Betty Winkler, of the National Broadcasting Co.'s Chicago 
division, will make a special trip to New York to play the lead in Oboler's 
"The Last Man," which is to be heard over WEAF Saturday, at 10 p. m. 

Oboler wrote "The Last Man" some months ago but refused to broadcast it until 
Miss Winkler could arrange to make the trip east. Betty played a number of 
important roles when Oboler was writing the 'Lights Out' series in Chicago and 
since then he has been highly enthusiastic about her talents. ...

[May 13, 1939 Lima News]

Ireene Wicker, who has won world-wide recognition and many awards during the 
nine years she has been presenting children's programs over National 
Broadcasting Co. networks, will be starred in a highly dramatic adult role in 
"Baby," Arch Oboler's play to be presented on WEAF Saturday at 9:00 p. m. 

The story, which Oboler considers one of his best, will be told in the 
author's striking stream-of-consciousness style. The star is to be supported 
by Vicki Vola and Charlotte Munson, young NBC actress, and her ability as a 
singer will be taken advantage of thru an original musical score written by 
Jerry Moross, composer of such well known symphonies as "American Patterns" 
and "Tall Story." 

[May 20, 1939 Lima News]

"Crazytown," a stinging indictment of the present anarchic state of world 
affairs, will be presented by Arch Oboler over WEAF Saturday at 9 p. m. The 
contemporary fantasy is to star Edmund O'Brien, who scored a success this 
season as Prince Hal in Maurice Evans' Broadway production of "Henry IV." 
Charlotte Manson, young and talented NBC actress, will have the leading 
feminine role. 

The story tells of two young aviators who make a forced landing in unknown 
territory while returning from a successful bombing expedition against 
civilians of a defenseless enemy city. They soon find they have cracked up in 
Crazytown, a place where individual moral values have become us topsy-turvy as 
are international moral values in the outside world. Hate, envy and suspicion 
are cardinal virtues; pity, love and honor are considered unforgivable sins, 
while murder is the only logical way of settling a quarrel. 

[May 27, 1939 Lima News]

The reactions of a young honeymoon couple who come down from the eminence of 
the Empire State Tower to find themselves the only ones in the world will be 
revealed by Arch Oboler when he presents the next drama in his current series 
over WEAF Saturday, from 9 to 9:30 p. m. For this week only the program will 
originate in Chicago. 

Titled "The Word," the original play carries on the Oboler tradition of stark 
realistic drama enhanced by sound effects. Altho the characters move in an 
imaginary and impossible situation, they behave as normal human beings. 

[May 27, 1939 Oshkosh Daily Northwestern]

... Arch Oboler's Plays. "The Word," the story of a woman obsessed by the 
desire to know the meaning of death, will be tonight's play. This play was 
originally scheduled for last week. ...

[June 17, 1939 Lima News]

Edmund O'Brien, who played the tempestuous Prince Hal in Maurice Evans' 
Broadway production of "Henry IV" last, season, and who had the part of the 
overbearing young aviator in Arch Oboler's "Crazytown" on May 20, will he 
starred in "The Immortal Gentlemen," Oboler's 13th production, to he presented 
over WEAF Saturday, at 8:30 p. m. 

The story was inspired by a line from Walt Whitman's "Reconciliation" and 
deals with a youth who is so obsessed with the idea of death that he has no 
time really to live. Projected by accident into a brave new world far in the 
future where medical science has made immortality a reality, the hero 
discovers the wonders, dangers and even horrors of such a condition.  

[June 18, 1939 Hammond Times - Radio Short Circuits column by Richard Murray]

... "It's unfortunate that I must always be associated with great globs of 
blood," chuckled Orson [Welles] when Rosemary Wayne, WJJD's movie reporter 
with whom we shared the interview, asked him if he had ever written Lights 
Out. He comforted Miss Wayne by telling her that many people had the same 
mistaken impression, probably because he played the Shadow on Mutual at one 
time. ...

[June 23, 1939 Lima News item about Arch Oboler's Plays]

Due to the fact that the dramatic series has changed time and is now heard on 
the West Coast before youngsters retire, Arch Oboler will tone down the chills 
and horror in his weekly offerings. 

[June 24, 1939 Lima News]

Raymond Edward Johnson and Betty Caine, NBC artists who have been heard 
frequently in Arch Oboler's plays, will be co-starred in "The Luck of Mark 
Street" which Oboler is to present over WEAF Saturday at 8:30 p. m. This drama 
is a tragedy which shows how the inescapable consciousness of guilt haunts a 
criminal until his eventual undoing. The plot was suggested by the old proverb 
which runs: "Nothing is more common than for great thieves to ride in triumph 
when small ones are punished. But let wickedness escape as it may, at the last 
it never fails of doing itself justice; for every guilty person is his own 
hangman." As interpreted by Oboler the proverb has considerable contemporary 

[June 28, 1939 Hammond Times - Radio Short Circuits column by Richard Murray]

... If the [Joe Louis-Tony Galento] fight isn't gory enough for you, Lights 
Out is bound to please because tonight they bring you the bloodiest work of 
their brand new script writing discovery, William Shakespeare. "Macbeth" is 
but the first of a new series of adaptations of the great bard's plays. I grow 
pale and ponder over the fate of "Romeo and Juliet." (WMAQ, 11:30) ...

[July 22, 1939 Lima News]

Favorite Oboler Drama To Be Presented on Saturday

Repeat Performance By Popular Request ...

"The Ugliest Man in the World," which inaugurated Arch Oboler's present series 
of plays [and] was, in fact, largely responsible for his having a series in 
the first place, will be repeated by popular request over WEAF Saturday at 
9:30 p. m. 

Raymond Edward Johnson, who has scored repeated personal successes in Oboler's 
dramas, will have the title role which he created during the first 
presentation on March 25. The supporting cast includes Betty Caine and Ann 
Shepherd, stage and radio actresses, who also have been heard repeatedly on 
this series. 

Boris Karloff, Frankenstein monster of the screen, was Oboler's inspiration 
for "The Ugliest Man in the World." Two years ago Karloff and Oboler were 
drawn together in NBC's midnight "Lights Out" thrillers. Karloff was starring 
in the spine-tinglers which Oboler was then writing. One day the two sat down 
at lunch and discussed the many hideous characters Karloff had portrayed on 
the screen. ...

[July 26, 1939 The (Madison, WI) Capital Times]

ANOTHER Lights Out thriller ...

How a self-made, wealthy broker, driven insane by the snubs of society 
leaders, gains revenge on five of those who refused to recognize him, is the
theme of the Lights Out drama, "The Giggler," to be heard on WIBA at 10:30 

Possessed of a knowledge of surgery, the fanatic changes the characteristics 
of five persons. The story was written by Bill Fifield, who authored the 
recent adaptation of "Macbeth."

[August 19, 1939 Lima News]

"Efficiency Age" Effects To Be Studied In Oboler Drama

Betty Caine Will Carry Entire Burden Of Plot At 8:30 p. m. Broadcast On 

Betty Caine, who has been co-starred with her husband, Raymond Edward Johnson, 
in such striking Arch Oboler dramas as "The Ugliest Man in the World" and "The 
Luck of Mark Street," will carry the entire burden of a plot for the first 
time when she has the lead in "Efficiency Island" over WEAF Saturday at 8:30 
p. m. 

This eerie tale is laid in the future when straight-line factory methods of 
production have reached perfection and workmen, chained for generations to the 
machine by their pay checks, seem to have lost the will to fight for better 
working conditions. 

The problem of what the assembly line will do to humanity in the long run has 
vexed economists and sociologists since the start of the industrial era. It 
will be given a a new and surprising twist by the young author-producer. 

Miss Caine, who met her husband in Chicago at a rehearsal for one of Oboler's 
early "Lights Out" thrillers, came to New York several months ago and since 
has been heard frequently over NBC. A slim, dark-haired girl, she is equally 
at home in character and in straight roles. 

Oboler thinks she is one of the most talented members of the select group of 
players from which he casts his dramas--and she thinks he's the best producer 
in radio. When not playing a leading part in one of his productions she can 
usually be found doing a bit role or just sitting in the studio studying his 

[September 2, 1939 Fresno Bee]

Lew Danis a young Italian actor, will make his initial appearance in a network 
radio drama when he plays the leading role in a play by Arch Oboler at 5.30 
o'clock this evening. The play is entitled Love Story. 

Two other plays by Oboler, The Valley, laid in the far West, and Mungahara, a 
tale of the wild bush country of Australia, also will be presented. 

[September 9, 1939 The Lima News]

50,000 Year Old Setting To Be Used In Drama Saturday
Oboler Play To Pose Problem Of Parenthood; ...

Three moderns — American, French, and English — who find themselves whirled 
50,000 years thru time and two cavemen are the characters in Arch Oboler's 
play, "And Adam Begot," which will be presented over WEAF Saturday, from 8:30 
to 9:00 p. 

The drama, presenting contemporary characters moving against a background of 
Neanderthal men, poses a question old as time itself — that of parenthood. 
Oboler's fantasy will show that parenthood is neither a duty nor an 
obligation, but a rare privilege which is abused much too often. It also shows 
the unending struggle between brute force and ethics. 

The young dramatist expects to face his biggest casting problem in filling the 
roles of the two Neanderthal men which he has written into "And Adam Begot." 
He wants a voice, he explains, which will instantly suggest a cave-man to the 
radio listener. With that in mind, he conducted a survey of what people expect 
in a Neanderthal voice. 

"A cross-section of the answers," Oboler says, "suggests a bass-voiced 
prizefighter, talking double talk with his mouth full of hot potatoes."

[September 17, 1939 Port Arthur News -  New York Reporter column by Jack Sher 
in Screen & Radio Weekly]

Arch Oboler gave a party atop Radio City for Alla Nazimova. Most of the 
attention was centered on Oboler's pretty, childish-looking, blond wife. She 
came garbed in a bright colored peasant's costume, her hair in pigtails. She 
looked about 14. Everyone remarked about this, but Arch explained that it was 
sort of an optical illusion. "Eleanor is really not as young as she looks," he 
said, "and she certainly isn't a child-bride, as one old fellow in the South 

Oboler met his present wife while they were both attending the University of 
Chicago. They were soon married and she stuck by him loyally during a very 
tough year and a half, during which he was trying to break into radio writing. 
Before Oboler took to using a dictaphone, she acted as his stenographer, and 
Arch claims she is the fastest and best in the country.

[October 15, 1939 Screen & Radio Weekly - New York Reporter column by Jack 

ARCH OBOLER is going to be able to write his own ticket in Hollywood. He's had 
several offers from film studios already and will be even hotter when he's 
broadcasting from the Coast. 

The day before Oboler left, he had to put on a radio show. Show needed last-
minute rewriting and Oboler's dictaphone was packed along with all his books 
and his recording machine. Oboler tried the typewriter, then turned to 
longhand to get the stuff written. Oboler is the only producer who rehearses 
his cast at his apartment. He makes a record of their readings and then they 
play it back and criticize it. This week they had to rehearse in the studio. 

More trouble came up when the car Arch just bought in which to drive to the 
Coast couldn't be delivered on time. When we left him he was frantically 
trying to get a fast train to Chicago. He explained he had to get a fast train 
because slow train trips make his pet horned toad very sick. And where Oboler 
goes so goes the toad. 

[November 30, 1939 Brooklyn (NY) Eagle]

Oboler's Pen 

Arch Oboler, labeled the Eugene O'Neill of radio, and the fellow who can write 
hour-long dramas, half-hour dramas and even 10-minute dramas for the ether, 
will branch out with a short-story technique in radio drama as the piece de 
resistance of his program over WEAF on Saturday at 9 p.m.

"The possibilities of reducing a story to its absolute essentials has always 
intrigued me," says Oboler, "particularly because radio, in my opinion, is the 
ideal medium for presenting concentrated doses of entertainment. 'The Circle' 
is not a sketch. It is a complete play about a few moments in the day of a man 
living amidst the turmoil of Middle Europe. I will be extremely interested in 
finding out what my listeners think of this flashlight presentation." 

Two other brief plays will round out October's [sic] broadcast. The first, 
"Hometown," will star Ray Collins. It will deal with the experiences of a 
successful international banker who returns, after many years, to the scenes 
of his boyhood only to be faced with the suffering wrought among old friends 
and neighbors by his financial machinations in far-away places. "The 
Executioner," final drama in the group, is a macabre stream-of-consciousness 
story, told through the medium of random thoughts which pass through the mind 
of an Executioner for the Crown.

[December 16, 1939 Fresno Bee]

Lorre Is Star Of Oboler Play

One of the highlights of broadcasts over KMJ will be the appearance of Peter 
Lorre, famous as Mr. Moto of motion pictures and currently appearing in 
Strange Cargo, as the star of the Arch Oboler play at 5 o'clock this evening. 

The play, Nobody Died, is Oboler's is answer to the question, "What would the 
elixir of youth do to our modern situation if it were suddenly made 

Lorre, who is well known to both radio and motion picture audiences as well as 
on the legitimate stage, made his radio debut several years ago in a play by 
Oboler. Tonight he will appear as the head of the propaganda bureau of a 
foreign country who is confronted unexpectedly with the wonder of a great 

[January 6, 1940 Nebraska State Journal]

Arch Oboler's Plays; tonight's drama is a ghost story entitled "Money, Money, 
Money" and starring Edmund MacDonald. 

[February 17, 1940 Lima News]

"Genghis Khan," which Arch Oboler considers the strangest story he has 
written, will be presented during his series of plays over WEAF Saturday, at 8 
p. m. The drama concerns a simple Harlem Negro who suddenly decides to become 
dictator of the world. The plot is based on the theory that dictators of this 
generation are reincarnations of ruthless power-seekers of the past.

[February 17, 1940 Nebraska State Journal]

... Arch Oboler's Plays, presenting "Genghis Khan," a drama about a Harlem 
Negro who suddenly decides to become dictator of the world. ...

[March 5, 1941 Variety]

Wyllis Cooper, who scripted 'Lights Out' for three years, will tell Graham 
McNamee how horror yarns are concocted for radio on 'Behind the Mike' next 
Sunday (9) ...

[March 7, 1941 Brooklyn (NY) Daily Eagle - Jo Ranson's RADIO DIAL LOG]

Oboler Will Offer 'Ugliest Man' Again 

Arch Oboler's production on "Everyman's Theater" at 9:30 tonight over WEAF is 
a comedy entitled "Problem Papa", starring young Tommy Cook, a discovery of 
that very able writer, Joseph Patrick McEvoy. The program will come from 
Hollywood. It is next Friday's program, however, that we would like to tell 
you a little more about. Oboler is reviving his magnificent thriller, "The 
"Ugliest Man in the the World" with Raymond Edward Johnson in the lead. 

Next Fridays airing of "The Ugliest Man in the World" means that it will have 
been heard on the air for the third time with Johnson in the lead--which is 
certainly something of a rarity in radio. The history of the production is 
interesting, too. In the Spring of 1939 Oboler wrote the play, which is in the 
stream-of-consciousness manner. The idea was given to him by Boris Karloff, 
the great bogey man. Originally intended for the "Lights Out" series which he 
was then writing and directing, the play proved to be a great deal more 
artistic than the type of stuff "Lights Out" listeners were in the habit of 
getting at the stroke of midnight. 

The result was Oboler called Johnson in and had him do a phonograph recording 
of the story which the playwright immediately rushed via plane to New York. At 
Radio City Oboler played his home-made records for the exacting Lewis H. 
Titterton, head of the NBC Script Division. It thrilled Titterton so much that 
he signed Oboler on the spot for a series of original dramas "Arch Oboler's 

Johnson came on from Chicago to play the character he had created when the 
drama was aired on the network March 25, 1939, for the first time. On July 23 
of the same year he repeated it and on March 14 it will be heard for the third 

[June 2, 1941 Time Magazine article with photo of Cooper. The caption reads: 
NBC's Cooper / This time he's serious.]

Mouths South

Month ago Merlin Hall ("Deac") Aylesworth acquired the title of DRAOCCCR-BAR, 
New Deal for Director of Radio Activities in the Office for Coordination of 
Commercial & Cultural Relations Between the American Republics. In plain 
English: chief of the radio sector of the Hemisphere Solidarity campaign.
Deac Aylesworth's immediate job is to let as much light as possible into the 
murk beclouding the average U.S. citizen's notion of life Down There; also to 
see that southbound programs do not conflict, hurt anybody's feelings or 
suffer from the dreary blight of what is known as "education" -- in general, 
to make them make sense.
"The National Farm and Home Hour," ventured the Deacon, "would not make much 
sense in Uruguay."
Meantime, while radio's pioneer ringmaster (ten years president of NBC) was 
readying a comprehensive air program between the U.S. and Latin America, U.S. 
broadcasters voluntarily came forth with two of their most impressive stunts 
in ten years of more or less catch-as-catch-can short-waving back & forth 
across the Rio Grande. Initiated by the two major networks were two series of 
regular weekly half-hour shows.
CBS's Calling Pan-America (4 p.m. Saturday, E.D.S.T.) began with a broadcast 
from Buenos Aires and will jump each week from Latin-American capital to 
capital, featuring local talent which will be mostly musical but also 
oratorical. Columbia's initial effort celebrated Argentina's 131-year-old 
Independence Day. NBC for its 22 Good Neighbors shows (10:30 p.m. Thursday, 
E.D.S.T.) threw in Dr. Frank Black and his 60-piece orchestra, a troop of some 
20 actors and the gilt-edged intonings of Announcer Milton Cross. It will 
broadcast from Manhattan with appropriate guest diplomats on duty in 
Washington, and every week the program will be tailored to a different Latin-
American country.
It is safe to predict that neither program will be as sensational as the 
career of Wyllis Cooper, veteran radio dramaturge who writes NBC's show. From 
1933 to 1936 Radioman Cooper wrote and directed the silo-of-blood programs 
called Lights Out. Late at night, so children couldn't hear them and have 
their little livers scared out of them, they gushed from Chicago's WMAQ and 
were beyond doubt the most goose-fleshing chiller-dillers in air history. At 
each broadcast's opening a deep, dark, dank voice would instruct listeners to 
put their lights out and settle back in their chairs, whereupon gore would 
commence to flow, bones to snap, screams and groans to rowel the air.
Lights Out was a sound-effect's man's paradise. On one occasion the audible 
illusion of a victim's hand being smashed on an anvil had to be achieved. 
Everything was tried from slapping a pork chop with a cleaver to pounding wet 
paper with a hammer. At last came triumph: a lemon was laid on an anvil and 
struck with a small sledge.
Another time there was the problem of the exact noise of a man being skinned 
alive: pulling apart stuck-together pieces of adhesive tape was the solution. 
Beheading  acoustics were attained by slicing cantaloupes with a cleaver. 
Fingers were scissored off by substituting pencils for fingers. Dropping a raw 
egg on a plate simulated perfectly the blup of an eye-gouging. Flowing corn 
syrup furnished the voop-vulp of freely flowing blood. When a mechanical giant 
pulled a wretch's arm off, the leg of a cold storage chicken was pulled off 
beside the mike.
There were about 600 Lights Out clubs in the U.S. when Mr. Cooper stopped 
writing the show to go to Hollywood to do picture scripts. A Kansas City, Mo. 
chapter whose meeting he attended had officers and by-laws and fined any 
member who spoke or lit a cigaret during broadcasts.
In appearance and character Cooper belies his ghastly army of brain children. 
A short roly-poly of 42, resembling nothing so much as an amiable Alexander 
Woollcott on a smaller scale, he is a dutiful husband,* an ardent dog-lover, 
an amiable drinker, and loved by his friends. Despite Latin-American fondness 
for the sanguine (bullfights, the annually-produced slaughter melodrama Don 
Juan Tenorio, the "Day of the Dead," etc.), Cooper will not in his new job 
employ his Lights Out talent. "This one's in earnest," he says.

* He changed his name from Willis to Wyllis to please his wife's  
numerological inclinations.

[September 8, 1941 Charleston Gazette]

George Barnes, exponent of the amplified guitar, and Wyllis Cooper, rotund 
author and racontuer, [sic] will highlight the capers of the "Chamber Music 
Society of Lower Basin Street" at 8:05 p. m. "Professor" Barnes, starred on 
several NBC shows from Chicago, will be piped into the "Basin Street" session 
from the Windy City. It marks the first time a guest act has been picked up 
outside the studios. "Dr." Cooper, author of NBC's "Lights Out" horror tales 
will appear as guest intermission commentator. 

[October 10, 1942 Binghamton (NY) Press - "Walter Winchell On Broadway" 
syndicated column]

... Arch Oboler is using only radio actors (at the union scale) on his "Lights 
Out" series via CBS--instead of name stars. "Radio actors," he explains, "are 
best fitted for the thriller-diller type." ...

[November 1, 1942 Washington Post]

Just when Uncle Sam is getting the citizens used to a speed limit of 35 miles 
per hour, Arch Oboler comes up with a transportation idea that will make the 
fastest airplane look like a dead pigeon. Be sure your easy chair is nailed 
down if you plan to listen to Oboler's "Across the Gap" in the Lights Out 
series Tuesday night at 8:00 p. m., over WJSV.

Even Mother Earth has nothing on the invention in this tale. The earth 
carousels on its axis (pardon the pun) at a speed of more than 1000 miles per 
hour. Which is not bad. But it might conceivably be bettered any year now by a 
new stratoliner since at this very moment some planes are zooming at a 500-
mile clip.

To Oboler, however, that is terribly slow, practically stationary. Planes are 
a thing of the past in this story. For "Across the Gap" is a flight of the 
imagination into the future, especially the future of transportation.

Today, only radio and television travel with the speed of light or 186,000 
miles per second. That's the speed at which Oboler wants to transport people 
in Lights Out. Is it mad? Then so was Jules Verne's concept of a submarine 
decades ago, or Bellamy's anticipation of what turned out to be radio. Want to 
check up on Oboler? All you have to do is to live another hundred years.

[November 24, 1942 San Antonio (TX) Light]

Chicken Heart To Be Topic On Radio 

Arch Oboler tells the story of "Chicken Heart" on "Lights Out" Tuesday. 
(KTSA—7 to 7:30 p. m.) 

The dead and unsung chicken whose famous heart continues to beat in a glass 
case in New York's most esteemed research institue could not possibly have 
foreseen some day it would be the inspiration for a "Lights Out" tale. 

There, in its lonely case, the heart, minus the clilcken that originally 
housed it, has been quietly pulsating these last two decades, astounding 
scientists and laymen alike, minding its own business, until Arch Oboler 
decided to make a radio script out of it. 

[December 15, 1942 San Antonio (TX) Light]

Lights Out Program Set 

The next time you are sitting alone in your room, don't jump just because you 
hear a knock at the door. That is, unless conscience bothers you the way it 
did the murderess in Arch Oboler's "Knock At the Door" for Tuesday (KTSA 7:00-
7:30 p. m.) 

In the old days, Benvenuto Cellini, sculptor and braggart, could run around 
the city of Florence and get himself a Jovial audience by describing how he 
murdered his enemy—"with a deft twist of the wrist, I severed his head from 
his body". But times have changed. And Benvenuto had no conscience. Like him, 
Lucrezia Borgia, the original Mickey Finn girl, made a name for herself, too. 
It was worth your life to knock on her door. 

After much research into case histories, Oboler in this Lights Out tale 
develops a fine psychological portrait of a woman, not a historical character, 
just a plain everyday woman, who is burning with jealousy and hate, commits 
the worst of crimes against the object of her emotion, and comes to a 
terrible, dramatically logical end.

[December 22, 1942 San Antonio (TX) Light]

... Arch Obler's [sic] postponed mystery tale, "The Mirror" is to be heard on 
his "Lights Out" program. (KTSA—7 p. m.) Oboler says he has been trying to 
complete this difficult play for the last five years and now that it has been 
completed he guarantees that all those who hear it won't be able to look into 
a mirror for quite some time. ...

[February 2, 1943 San Antonio (TX) Light]

Arch Oboler Dramatizes 'Until Dead' 

A spine-chilling story, "Until Dead," is dramatized on Arch Oboler's "Lights 
Out" program Tuesday (KTSA—7 p. m.) Oboler has been in New York on a three-
weeks' visit from Hollywood. He returns to the film capital at the conclusion 
of this broadcast.

[March 16, 1943 Brooklyn (NY) Eagle]

... Mr. Arch (Strindberg) Oboler's "Lights Out" offering for WABC will be "The 
Dream," a surrealist bit about a dream within a dream employing a technique 
never before used in his "weirdage" . . .

[May 18, 1943 Long Beach Independent]

Arch Oboler Strictly A Spook Writer 

Arch Oboler's many years of writing stories of the supernatural seems to have 
made a permanent impression on him. The prolific author-director of KNX's 
"Lights Out" series seldom gets away from the imaginative concept even in his 
more serious plays, which contain many similar touches of ghosts and haunts. 

[August 24, 1943 Tucson (AZ) Daily Citizen]

"Sub-Basement," a delightful little bed-time story, Arch Oboler style, will 
scare your nice old Aunt Tabitha so completely she won't go down to the cellar 
to stoke the furnace next winter if she listens in to CBS' "Lights Out," 
tonight. The show has only two people, but what they go through in the weird 
basement world below a department store could use a "This is the Army" cast. 
KTUC, 6 o'clock.

[October 16, 1943 The Billboard]

Lights Out

Reviewed Tuesday, 8-8:30 p.m. Style — Melodrama. Sponsor — Ironized Yeast Co., 
Inc. Agency — Ruthrauff & Ryan, Inc. Station — WABC (New York) and CBS. 

Author Arch Oboler was probably trying to prove in The Author and the Thing 
(he's writing those win-the-war dramas again, now that he's fortified himself 
financially on Ironized Yeast) that his commercial ending could be as 
auspicious as his beginning. His first mistake was telling his press agent. 

Prior to Tuesday's show, every radio ed's desk received the news that Oboler 
was planning to wind up Lights Out by bumping himself off and involving his 
Hollywood enemies and friends as accomplices and victims (interchangeably, not 
respectively). The only victims turned out to be Oboler's own defenseless 
mother and brother, and Mercedes McCambridge, radio actress.

His second mistake was to try to kid the handiwork that feeds (or fed) him. 
Oboler played himself in this one, the author of the Lights Out series, 
dreaming up his final play.

Because he's been dwelling on evil thoughts for the past seven days and nights 
(it says in a medieval tome he happens to have around the house), he conjures 
up a super-monster, the embodiment of all evil, who knocks off mom, brother, 
leading lady and finally Oboler, who winds up where he modestly claims to 
belong — in hell. Before the final kick-off, however, Oboler, a good egg at 
heart, informs the authorities about the murders and, since no one believes 
the story about the monster (he's invisible to everyone but his conjurer), 
Oboler comes up before the lunacy commission. He's pronounced insane on the 
basis of his peculiar shirts and the plays he writes.

The farce isn't good or novel enough to be funny, but there's just enough of 
it to take the edge off whatever chills of the obvious plot. Result, 
therefore, wasn't even good Oboler. 

Big Town filled the sponsor's half-hour spot starting October 5. 

Shirley Frohlich.

[_Oboler Omnibus_ by Arch Oboler (Duell, Sloane & Pierce, 1945)]

Wyllis Cooper ... is the unsung pioneer of radio dramatic techniques; his was 
the first mind in American radio broadcasting which sought, in a sustained 
series of plays, to make use of the spoken word and the subtlety of sound 
effects, not in imitation of the theatre, but with the wonderful intimacy of 
approach that is unique to "blind" broadcasting.

To follow Mr. Cooper was a challenge ...

[July 13, 1945 Dixon Evening Telegraph -- Day by Day On the Air by C. E. 
BUTTERFIELD, Associated Press column]

New York, July 13-- With three of its ordinarily sponsored series taking 
vacations from Saturday night radio, NBC has decided it's a good time to fill 
one of them with an eight-weeks revival of part of the old "Lights Out". This 
was the eerie series of nearly a decade ago which tried to scare listeners in 
the last half-hour of a mid-week night through the writing efforts of Arch 
Oboler, Willys [sic] Cooper and others.

In the revival, to run through Sept. 1 and to have the time of Truth or 
Consequences at 7:30, only those Cooper scripts which stressed fantasy rather 
than horror will be used. Because of the earlier time it was thought best not 
to stir things up too much. ...

[July 21, 1945 The Billboard]

WCFL's Keegan To NBC Staff; To Meg "Lights" 

CHICAGO. July 14. — Howard Keegan, for years one of Chicago's most prominent 
figures and presently manager of WCFL, American Federation of Labor Indie 
station, will leave here in a few weeks to take a position as a staff producer 
at NBC in New York. Keegan will report to New York August 6. After that date 
he will take over production of NBC's Lights Out series, which starts today as 
the eight-week summer replacement for Truth or Consequences. Keegan will also 
handle production on many other New York-originated NBC shows, some of them 
top commercial programs for the net. His successor at WCFL has not been named.

Keegan produced the original Lights Out series for NBC when it was started 
here in 1934, with Willis Cooper scripting the series. In a situation 
resembling a reunion of the clan, Cooper will also script this year's Lights 
Out series. 

NBC, it is said, is slating Keegan to fill In the spot left vacant by Tony 
Leader, who recently resigned from tha net's production staff to do free-lance 

[August 4, 1945 (Madison) Wisconsin State Journal (printed a week early)] 

7:30 p. m.--Lights Out (WIBA): "Did the Murder Happen?", with newly-weds 
stalled on a lonely road at midnight. 

[July 3, 1946 Variety review] 

"Lights Out"
With Carl Frank, Mary Wilsey, Eva Condon, Russell Morrison, Bob Lieb. Gene 
O'Donnell, Vaughn Taylor, W. O. McWatters, Thomas Healphy, Paul Keyes, Bob 
Davis, Harold Grou, Bill Woodson, narrator. 
Producer: Fred Coe
Tech. Director: Bill States
Writer: Wyllis Cooper
Sets: Bob Wade
25 Mins.; Sun. (30) 8:45 p.m.

It's usually considered in bad taste for a reviewer to use superlatives in 
describing a show. Sometimes, however, such a course of action cannot be 
helped, as in this first televised version of the w.k. "Lights Out" radio 
spine-tingler. Utilizing a new device in which the camera itself is the 
murderer, the program was tops from start to finish and undoubtedly one of the 
best dramatic shows yet seen on a television screen.

Credit for the show's all-around excellence belongs jointly to scripter Wyllis 
Cooper and producer Fred Coe. Cooper was the last writer of the radio version 
with an eight week series on the NBC net last summer. (Show returns for eight 
weeks Sat. (6) as replacement for Judy Canova). He followed Arch Oboler at the 
task and has made the switch from radio to tele without a single letdown in 
the program's eerie quality. Coe, whose light on NBC television has been 
partly hidden in the past by Ed Sobol and Ernie Colling, both of whom won ATS 
awards this last year, has come into his own with this show and should now 
rank right at the top of the heap.

Story, titled "First Person Singular," concerned a psychopathic killer whose 
wife's constant nagging, extreme sloppiness, etc., led him to strangle her in 
their apartment on one of those blistering summer evenings. Killer was never 
seen, with the camera following the action and taking in just what the eyes of 
the murderer would see. Thoughts in the killer's subconscious, meanwhile, told 
what might go on in the mind of such a person as he contemplates his crime, is 
convicted in court and then hanged.

Coe achieved some admirable effects with the camera, drawing the viewer both 
into the killer's mind and into the action. Use of a spiral montage effect 
bridged the gap between scenes very well and the integration of film to point 
up the killer's dream of a cool, placid existence and to heighten the shock 
effect as the hangman ended his life was excellent. Technical director Bill 
States was on the beam with the controls in following Coe's direction.

Actors furnished an example of near-perfect casting. Carl Frank, as the 
murderer, though never seen, injected the right touches with his restrained 
reading of the script. Mary Wilsey was excellent as the wife. Her whining 
voice and little side-touches such as picking her teeth with her finger, all 
heightened by ultra-realistic makeup, brought forth a woman that even a sane 
husband might have wanted to kill. Supporting cast was uniformly good. Bob 
Wade's sets, though not as spectacular as in other shows, fit the program 

Announcer Bill Woodson at the end of the show asked viewers to send in their 
reactions and advice on whether they wanted the series to be a regular weekly 
feature. Response should be unanimous in the affirmative.


[July 5, 1946 Fresno Bee]

A long time favorite among dramatic suspense programs will make its debut 
tomorrow night at 6:00 on KMJ. "Light's Out" was first heard about 11 years 
ago and was a regular feature for many years. 

A Wyllis Cooper fantasy built around the legendary superstition that the young 
Jew who jeered at Christ at the crucifixion was doomed to wander the world 
forever will be the opening presentation.

[July 6, 1946 The Billboard]

Lights Out / Reviewed Sunday (30), 8:50-9:10 p.m. Style -- Drama. Sustaining 
over WNBT (NBC), New York.

NBC tried the most difficult job in video today. It took a radio script, which 
was supposed to depend entirely upon the listener using his imagination to 
reconstruct what was being aired, and gave the listener eyes. The odds were 10 
to 1 that it wouldn't come off.


It came off. Fred Coe, the producer-adapter, [sic] did a terrific job, the 
best he's done to date, and, frankly, as good as anything that NBC's cameras 
have scanned since they've been using channel four.

Coe handled the cameras so that they were you--the murderer of your wife, a 
slut. When you were hung the screen went black, but as you were dying you saw 
the coolness of the waves breaking on the beach. He used a kaleidoscopic 
circle every time your, the murderer's, mind went blank.

Actually, the play, it was called _First Person Singular_, one of the first 
_Lights Out_ that Wyllis Cooper did when the series was miked from Chicago, 
was a monolog in your brain, with a word added here and a picture there. It 
grabbed a mood with its opening credits by simply having a hand pull the chain 
on a table lamp ... and put out the lights. You felt the heat, a slow-moving 
electric fan accomplished that, and you saw the thing, your wife, you were to 

There were no errors, no slips, no bad performances. The play wasn't dragged 
out to a full half hour just because that was a normal time segment. It took 
20 minutes to tell, and the cameras used just 20 minutes.

Credit a perfect assist from Bill States, technical director, and the usual 
adequate scenery job of Bob Wade as back-stopping Fred Coe's first completely 
adult scanning.

NBC aired [the radio] _Lights Out_ series at midnight, and that's when it 
should have been [m]iked. This was no production to present to half pints. And 
one further rave note, the performance of Mary Wilsey deserves deep, sweeping 
bows. Katherine, the wife, was supposed to be a first-rate bitch and slattern, 
and Wilsey didn't for once try to pretty her up. She was Katherine and she 
deserved to die. To Wilsey's performance add a perfect miking of the husband's 
mind by Carl Frank. Of course, Frank's was strictly a radio job, which he's 
acustomed to handling with great regularity. But it's one thing to broadcast 
the wheels going around in a man's head when there's no vision to correlate 
with the spoken thoughts. It's another when the audience is there seeing just 
what the wheels are saying. So double-check Frank's monolog, like Fred Coe's 
direction and Mary Wilsey's wife, as terrific.

[July 10, 1946 Variety]

"Lights Out"
With Boris Aplon, John Barclay, Wilms Herbert; George Stone, announcer
Director: Albert Crews
Writer: Wyllis Cooper
30 Mins., Sat., 10 p.m.

NBC's oldtime thriller, first heard 11 years ago and a regular feature for 
several years thereafter, is back again as a summer replacement, this time for 
Judy Canova. (Last year it subbed for "Truth or Consequences.") Opening 
session of the eight-week revival Saturday (6), though interest, wasn't quite 
successful, however.

Show, which was a sort of modern version of the "Wandering Jew" theme, was a 
little too serious in content for a thriller. Religious background, 
philosophical discussion, and dream diagnosis gave program a slow, heavy pace 
from the start, and the whole thing, though it did pick up sharply in interest 
towards the close, was too talky and action-less. Sometimes plot was a little 
confusing, and one of the character's accent made the play that much more 
difficult to get. It's doubtful if this stuff suits for hot-weather escapist 


[August 17, 1946 (Madison) Wisconsin State Journal] 

8 p. m.--Lights Out (WMAQ): "A Case of Self-Conviction," story of a fugitive 
who seals his own doom.

[September 14, 1946 The Billboard]

'Lights Out' Nixing Blamed on Policy

NEW YORK, Sept. 7.--Spokesman at Biow agency this week explained agency's 
point of view with regard to CBS' recent nixing of the whodunit, Lights Out, 
which the agency intended to place on the web's Monday, 10:30 p.m. time slot. 
"There is strong pressure by the major webs," he stated, "to keep such segs 
off--otherwise their nighttime periods would become filled with whodunits." He 
futher pointed out that modest cost of mysteries particularly appealed to 
agencies and spnsors, who thru experience have come to regard such segs as 
"safe buys" in that they generally turn in medium ratings--whereas the 
sponsors get "burned" on variety and comedy shows. "Some of the so-called 
comedy shows turn out to be something different altogether," he pointed out, 
"and they cost plenty."

Report that Milton Biow, now on the coast would sue CBS for refusing the 
Lights Out show was denied by Biow attorneys.

[September 21, 1946 The Billboard]

... Only last week, rep of the Biow Agency explained that CBS nixed Lights 
Out, bought by Biow from Music Corporation of America, for the reason that 
they did not want to clutter the nighttime hours with horror segs. But the 
point of view of the agency, and the client--explained the Biow rep--was that 
horror segs, for a reasonable production cost, assured a medium rating, and 
were therefore a "safer" investment than expensive comedy or variety shows. 

[May 28, 1947 Dixon Evening Telegraph, syndicated column item]

DAY by DAY ON THE AIR by C. E. Butterfield

... MBS, from June 8, "Quiet Please", a variation of the former Lights Out 
stories [is the summer replacement] for Juvenile Jury. The change in title 
apparently is due to the fact that the program will be in the afternoon 
instead of at night. ...

[June 8, 1947 Kansas City Star]

Quiet Please, the daytime version of Lights Out, nighttime thriller of a 
decade ago, will take over the Juvenile Jury time at 1:30 o'clock today on 
WHB. The unusual stories will be written by Wyllis Cooper, who gained fame for 
his Lights Out series. The stories will outline a psychological plot theme, 
pointing up aspects of human behavior.

[July 11, 1947 Dixon Evening Telegraph (Dixon, IL) DAY by DAY ON THE AIR column]

Henry Morgan's ABC sponsor, in making a rather drastic change from his 
satirical comedy to the eerie type of Lights Out dramas for a nine-week 
vacation period, will start next Wednesday night with Boris Karloff as guest. 
It is planned to revive outstanding scripts of past broadcasts by this decade-
old series. ...

[July 14, 1947 Sheboygan Press (Sheboygan, WI)]

Boris Karloff on "Lights Out" Radio Program

Boris Karloff, Gauleiter of the Goose Pimple, will be starred on the premiere 
broadcast of Lights Out, summer replacement for the Henry Morgan show, on 
Wednesday, July 16, at 9:30 p. m., (CDT) over the American Broadcasting 
company, and WHBL.

By general agreement one of radio's most chilling programs, Lights Out is a 
perfectly balanced compound of terror, mystery and mayhem. In the decade in 
which it has been on the air, it has won a large following of fans who regard 
it as an effective antidote for heat waves.

In the current series, which will run until Henry Morgan's return in 
September, some of the most popular scripts of previous years will be revived.

The summer series will open with a thriller about a doctor who is a deft hand 
at bringing dead people back to life. After his wife is killed in an 
automobile accident, he uses his mysterious powers to bring her back to life. 
Questioning her about the trip, he learns that she has lost her soul, 
whereupon he decides to kill her in a way that he hopes will be permanent.

[July 15, 1947 Dixon Evening Telegraph (Dixon, IL) DAY by DAY ON THE AIR 

... Chilling thought for a July evening: Boris Karloff will star in the 10 
year old "Lights Out" when the series succeeds the Henry Morgan show at 10:30 
tomorrow night on ABC. ...

[July 22, 1947 The Billboard]

Lights Out 

Reviewed July 16, 1947 
E. S. Felton, Adv. Mgr. 
Thru the Biow Company 
Milton Biow, Account Exec. 
Via ABC 
Wednesday, 10:30-11 p.m.

Estimated Talent Cost: $4,500; producer, Larry Robertson; director, Bill 
Lawrence; music director, Leith Stevens; announcer, Ken Niles; writers, Willis 
Cooper and Paul Pierce; cast, Boris Karloff. ...

Boris Karloff plus the heat plus the characters who put together Lights Out 
are guaranteed to disrupt any listener's blood chemistry and endocrinology. 
There's no doubt about it. And for those who like to indulge in this sort of 
thing, this program fills the bill. It's an expertly done thriller backed by a 
long successful tradition. Now it's got the sepulchral Karloff in the lead, 
and if you'll take my advice you won't extinguish those lights--just dim 'em 

Series, which replaces Henry Morgan for the summer, debuted with a blood-
thickening opus about a scientist who thinks he can bring dead people back to 
life. He's done it with monkeys, you see. But as his assistant reminds him, 
there's a moral issue involved in such experimentation with humans. The fears 
of the assistant prove very true, as the scientist finds when he resuscitates 
his wife who had been killed in an auto accident.

There are a couple of unearthly screams and two murders, for the resuscitated 
woman gets handy with a scapel [sic] and must be silenced once again. It's all 
effectively done, and those ghoulish actors led by Karloff, and the writers 
and directorial talent, deserve kudos. 

Plugs for Eversharp were generally fair, altho the closing phrase of the 
blurb, "push-pull, click click," grows very annoying. 

Paul Ackerman.

[August 6, 1947 Variety]

Eversharp Yanks 'Lights Out' Switch

Eversharp yanked the switch on "Lights Out" after last Wednesday's (30) 
broadcast, dousing the series after only three of a scheduled eight-week 
summer run. The sponsor is committed to the show's owner, Wyllis Cooper, for 
the contractual period, but is understood to have worked out a compromise 
payoff covering the cost of the scripts. Deal is also getting worked out with 
the ABC network, which will fill the unexpired weeks with a sustainer, for the 
time charges. This is believed to be part of negotiations with Mark Woods, ABC 
prez, and Martin Strauss, boss of the pen and razor firm, involving a 
reshuffle of the net's whole Wednesday night schedule for the coming fall-

"Lights Out," horror series with a long and spotty history on both ABC and 
NBC, stumbled as a summer replacement from its first broadcast July 16. 
Although it was a minimum budget production, using old scripts originally 
written by Cooper when the series was launched a decade ago as a late-evening 
sustainer out of Chicago, it aroused the ire of Strauss, who ordered the Biow 
agency to yank it after the third installment. ...

[August 9, 1947 The Billboard]

Karloff May Blow "Lights" Because It's "Too Bloody"

NEW YORK, Aug. 2--Boris Karloff this week reportedly notified the Biow Agency 
that he intends to bow out of his starring role in Lights Out as soon as a 
suitable replacement can be obtained for him. 

Reason for Karloff's departure is said to be his dissatisfaction with the 
scripting, which he claims is too much on the gruesome and frightening side. 

Lights Out is Eversharp's replacement for the Henry Morgan show, aired 
Wednesdays over American Broadcasting Company (ABC). 

[August 14, 1947 Portland (ME) Press Herald syndicated column item]

INSIDE RADIO by Paul Luther

Set as an eight week replacement for vacationing Henry Morgan, Lights Out has 
disappeared from the kilocycles without ceremony or notice. It seems that the 
big boss of the pen and razor company sponsoring the chiller-diller just 
couldn't take any more and ordered the fuses blown after only three 
performances, thereby setting some kind of a record for the shortest series in 
network radio. ...

[August 20, 1947 Kansas City Star column Behind the Radio Dial]

....Lights Out folded because Boris Karloff and the sponsor believed the 
stories were too grisly....

[September 8, 1947 The Agitator (Wellsboro, PA) STAR DUST STAGE SCREEN RADIO 
column released by Western Newspaper Union and written by Inez Gerhard]

... It's said Boris Karloff wants to leave ABC's "Lights Out" because his 
roles are too grisly. ...

[December 11, 1947 The Bridgeport Post]


"The Three Men," an original Christmas production by Willis Cooper, will be 
broadcast Sunday at 2:30 by WICC in cooperation with Fairfield Prep. The drama 
will be directed by the Rev. J. Joseph Ryan and the Rev. David Commiskey, with 
Ken Rapleff as producer. In the cast are Roy Daly, John Gonzalez, George 
Thomas, Geoffrey Ryan, Judson Bump and Anthony Pellegrino. 

[July 7, 1949 New York Times]

The psychological mystery series, "Lights Out," which was seen on NBC 
television three years ago, will be revived by the network next Tuesday 
evening from 9 to 9:30 o'clock.

[July 9, 1949 The Billboard]

"Lights Out" Revived For TV on July 22

NEW YORK, July 2.--Lights Out, one of radio's top psychological shows, will be 
revived for video starting July 22. The National Broadcasting Company (NBC), 
which owns the title and many of the scripts, will spot the show Fridays at 
9:30 p.m., currently occupied by Lucky Strike. Should Luckies keep the time 
spot, Lights will shine elsewhere.

Lights was written by Wullis [sic] Cooper and Arch Oboler and helped launch 
them both on their careers. The web did a few TV versions of the show about 
two years ago. Cooper now has the click [V]olume [O]ne series on WJZ-TV.

[July 17, 1949 Washington Post]

New 'Lights Out' Series to Start

A new series of "Lights Out," the ghost and horror dramas, will return to the 
NBC television network beginning Tuesday (WNBW, 9 p. m.)

The premiere show, "Episode One," a murder mystery, was written for the new 
series by Wilson Lehr. Subsequent episodes will consist of adaptations of 
short stories and original plays.

[July 24, 1949 New York Times]

FRED COE, manager of new program development for NBC television, has worked 
out a system to minimize or eliminate the first-night jitters usually 
associated with the premiere of a new video show.

Mr. Coe's plan of operations is to assemble his cast, rehearse the show and 
then, a week before the premiere, put the program on kinescope recording. The 
film then is studied for "weak" spots and whatever changes thought necessary 
are made. Finally, the revised show is given its first formal presentation on 
the network as a "live" performance.

In applying the principal to the "Lights Out" series -- which made its debut 
last week -- perusal of the kinescope recording resulted, among other things, 
in the cutting of two whole scenes, a rewriting of the ending and a change in 
the opening shot, since the first one was considered to leave the viewer "not 
properly oriented" for what was to come. The incidental music was also 

DECISION: Incidentally, Kingman T. Moore, director of "Lights Out," is 
awaiting word from the NBC continuity acceptance department as to whether they 
will approve the story, "Two Bottles of Relish." It is a classic horror short 
story by Lord Dunsany dealing with cannibalism, wherein a man eats his wife. 

[July 30, 1949 The Billboard]

Lights Out

Reviewed Tuesday 9-9:30 p.m. on NBC TV network. Style--Drama. Producer Fred 
Coe; director Kingman Moore; sets, Paul Barnes; music, Billy Nalle. Cast: Phil 
Arthur, Anita Anton.

The radio Lights Out series, written by Wyllis Cooper originally and later 
Arch Oboler, holds a rare and hallowed place among psychological air shows. It 
produced some of the top writing and acting the field has enjoyed. It was 
continually inventive, setting up an unmatched mood. Above all, it was a 
program written for one specific medium--radio, one of the rather limited 
number of which this may be said. Cat Wife and Ugliest Man in the World, for 
example, could have been offered only on radio, relying almost solely on the 
listener's imagination. But the only relationship between the AM and TV Lights 
Out is the similarity in name.

NBC had an admirable idea when it set out to adapt the series to the new 
medium, but the trouble is that adaptations, in such an instance, aren't 
sufficient. Generally speaking, this is one of TV's troubles--its program men 
concentrate on adapting from another medium; what is needed is not 
appropriating from another branch of of show business, but creating for video.

Imagination Needed

It will take more than a hand dripping blood on the opening title shot, or a 
filter mike, or mood music to give Lights Out TV value. It will require the 
same imagination, the same escape from formal and routine stories which 
characterized Lights in AM, and which Cooper brought so admirably to his 
recent ABC TV series, Volume One--classics in their own rights as were his 
Lights stories.

The initial TV offering was a drab and obvious story, bereft of mood and 
reasonable characters, outlining the attempts of a psychotic wife to commit 
suicide and making it appear she had been murdered by her husband. The final 
scene, rather than productive of mood or tension--it attempted to show the 
wife talking after her death, by using an offscreen voice against a shot of 
her casket--was almost ludicrous. A competent cast struggled but couldn't 
surmount the flaccid story or production; an effort hardly worthy of Producer 
Fred Coe.

Jerry Franken.

[July 31, 1949 New York Times]

EQUIPMENT newly perfected by NBC engineers will be used on Tuesday to tell an 
unusual story in "Episode Three" of the "Lights Out" series on the NBC 
television network at 9 P. M. The new development, it is said, makes it 
possible for the first time to maintain continuity of action, including scene 
changes, on both sides of the screen in a "split screen" television show.

The story will be a video adaptation of a script ["Long Distance" by Harry 
Junkin] previously heard on Radio City Playhouse in which Mrs. Leon Jackson -- 
to be played by actress Jan Miner -- works against time to reach the Governor 
of a state by telephone with new evidence to postpone the execution of her 
husband. One half of the picture will show her attempts to put through the 
call while the other half will show the succession of people with whom she is 

[August 7, 1949 New York Times]

"Lights Out"

The first television adaptation of the radio play "Long Distance" was telecast 
last week by NBC with memorable effect.

The play was the third episode in NBC's new psychological drama series under 
the title "Lights Out." It is aired Tuesdays at 9 P. M.

The network's use of split screen technique plus a sterling performance by Jan 
Miner underscored anew video's possibilities when motivated by imagination 
tempered with common sense.

Miss Miner made her television debut as the wife frantically telephoning 
around the country to locate a judge who could save her husband from the 
gallows. In the original radio play written by Harry Junkin, the wife had 
twenty-four hours in which to reach the judge. To heighten the dramatic effect 
for television, this period was cut to a half-hour and a clock which was 
visible in the background could be seen ticking away the minutes.

NBC has used the split screen technique previously but not for an entire half-
hour program. By this method, used to show simultaneous action at separated 
points, two different pictures are transmitted at the same time, each taking 
one-half of the television screen. In last week's "Lights Out" program, both 
ends of the half-dozen or so different telephone conversations were both 
audible and visible. The only fault here in the brilliant technical staging 
was the lack of contrast in some of the paired pictures. And at one point the 
judge's wife, while talking to the doomed man's wife, had her arm chopped off 
by the split screen.

Producer Fred Coe, director Kingman T. Moore and Technical director Don Pike 
did an inspiring job in fitting the play into the split screen groove. The 
adaptation of the script was done by Douglas Gilbert. For psychological 
purposes, the original ending, where the wife was successful in saving her 
husband, was changed to permit the viewer to judge for himself. The indication 
seemed to be, however, that the gallows was not denied.

[September 15, 1949 New York Times]

In the 9:30 period on Friday evenings, NBC television intends to alternate two 
productions -- the video version of "The Big Story" and "Lights Out." The 
latter program has been a Tuesday attraction. The new schedule is effective 
tomorrow night.

[September 22, 1949 New York Times]

Tomorrow's edition of "Lights Out" (9:30 P. M. on NBC video) will find Paul 
Winchell, ventriloquist, portraying a straight dramatic role. He will appear 
in "The Whisper," based on Gerald Kersch's story about a ventriloquist who 
adopts the personality of his dummy. The adaptation has been prepared by 
Douglas Wood Gibson.

[October 4, 1949 New York Times]

Following its decision not to renew the full-hour "Broadway Revue" on NBC 
television, the Admiral Corporation is expected to assume sponsorship of 
"Lights Out," the psychological drama series, on the same network Oct. 17.

"Lights Out" is telecast by NBC every other Thursday night but will be carried 
each Monday evening when Admiral begins sponsorship. The hour of broadcast has 
not been officially determined.

[October 22, 1949 New York Times]

"Lights Out," the psychological suspense series of dramatic shows will return 
to the NBC television network on Mondays at 9 P. M. under the sponsorship of 
the Admiral Corporation, which last year put on the "Broadway Revue." The 
starting date will be either Oct. 31 or Nov. 7. "The Black Robe," currently 
occupying that spot on the schedule will be reassigned.

The "Lights Out" series will offer plays adapted for television from short 
stories and radio scripts. Kingman T. Moore will direct and Ernest Walling 
will be the producer. Although a "no star" casting policy will be in force, a 
name player occasionally will appear in a leading role. The first show, the 
third for which Helmut Dantine has been signed to appear, will be Edgar Allen 
[sic] Poe's "The Fall of the House of Usher."

[November 3, 1949 New York Times]

Jack LaRue, the movie villain, has been assigned as regular host for the 
"Lights Out" television series, which resumes over NBC Monday at 9 P. M. He 
will introduce each play and set the mood.

[November 6, 1949 New York Times photo caption]

Jack LaRue will be the narrator on the new series of "Lights Out" mystery 
plays coming to NBC-TV on Monday nights at 9.

[November 26, 1949 The Billboard]

Lights Out

Reviewed Monday 9-9:30 p.m. on NBC TV network. Sponsor--Admiral Radio 
Corporation, via Kudner Agency, Inc. Producer: Ernest Walling. Director: 
Kingman T. Moore. Writer: Sumner Licke-Elliott. Cast, Jack LaRue, Neva 
Patterson, Allan Frank, Grant Gordon, Zalya Talma, Al Patterson.

Admiral Radio and Television is now sponsoring this National Broadcasting 
Company (NBC)-built video package, which bears only a nomenclative 
relationship to its classic radio predecessor. Lights Out didn't have it as a 
tele sustainer, and it still doesn't as a commercial. Basically, the fault, as 
evidenced in the program caught Monday (14), is that of script and concept.

But there is also a serious inconsistency in the treatment accorded Jack 
LaRue, film heavy, who plays the part of a narrator, even tho he appears only 
at the open and close. In a good, moody and atmospheric opening, he sets the 
scene for the show, his face marked by good lighting which seemingly comes 
only from a flickering candle. Under this treatment, LaRue and the program, 
both, assume the character sought after. A moment later, tho, this entire mood 
is disrupted as LaRue cues in the commercial, pointing out that by so doing, 
there'll be no middle break to interrupt the story.

Well, it listens good on paper but does it matter where the break comes? It's 
still there. The character of the show would be greatly enhanced were the the 
switch handled the other way, commercial credits preceding LaRue. When the 
show opens, he's in a heavy, moody role. A minute later, he's smiling, to cue 
in the commercial announcer. A minute later, he's back in the mood again. The 
greater impact of television as against radio's is in itself one of the 
reasons this doesn't stand up. 

Error in Concept 

More important, tho, is the error in the Lights Out concept. In radio, there 
was no limit to the macabre story it could tell, for radio places no limit on 
imagination. That doesn't go for tele. The minute tele shows an actual set and 
an actual character, it establishes confines. Thus, the idea, on this show, of 
having a spectre walk out of the the ocean to destroy the woman who's just 
murdered her husband is faced with a physical and visual limit which does not 
exist in radio. And so far, all Lights Out has tried to do is to move the 
camera in on radio scripts, rather than seeking and establishing its own 
purely video techniques. 

Casting, acting and script were awkward and unprofessional on this, and the 
payoff, when Neva Patterson is face to face with the briny spectre was almost 
ludicrous and certainly not tense. 

Admiral commercials are straight forward and hard hitting, plugging the tele 
sets primarily and easy installment buying. 

Jerry Franken

[January 15, 1950 New York Times]


In one of the key scenes in last Monday's "Lights Out" show on NBC-TV at 9 
P. M., the camera focused on a series of newspapers whose headlines explained 
part of the dramatic action. Clearly visible during the scene was the word
"Philco" thereby giving that company a free plug. "Lights Out" is sponsored by 
the Admiral Corporation, a competing manufacturer.

[January 15, 1950 New York Times]

IN DUPLICATE: NBC's television program "Lights Out" has discovered that "there 
ain't no such animal." For more than a week a casting call had been circulated 
in all likely places for the services of twin actresses to play the leading 
roles in tomorrow's show, entitled "The Green Dress." Many pairs responded, 
but all were models or dancers and no twins with adequate histrionic ability 
could be found. Finally selected for the roles -- those of two wives, one dead 
and one living -- were Lynn Salisbury and Candy Montgomery, both blondes, both 
with the same configuration and not even remotely related.

Undismayed by their failure to find twin actresses, casting officials now are 
searching for male twins for the program of Feb. 13. That week's offering will 
be "The Cat's Paw," a story of the devil taking a soul by turning a man into a 
cat. The change is gradual -- a little each night -- and will require a 
complicated make-up job necessitating the use of two actors so one can be "on 
stage" while the metamorphosis takes place. 

[February 16, 1950 Winnipeg Free Press radio listings]

Another drama tonight deals with social problems and is guaranteed to prove 
that even they can be entertaining. Arch Oboler's play Profits Unlimited will 
be heard from Winnipeg over CBW at 11. 

[February 23, 1950 New York Times]

The top ten television programs for January, all commercially sponsored in 
evening time periods, are rated as follows by the audience measurement firm of 
C. E. Hooper, Inc.

"Texaco Star Theatre," "Talent Scouts," "Arthur Godfrey and His Friends," 
"Toast of the Town," "Stop the Music," "Lone Ranger," "Cavalcade of Sports," 
"Cavalcade of Stars," "Fireside Theatre" and "Lights Out." 

[March 5, 1950 New York Times]

... on Monday night, the "Lights Out" show at 9 calls for a supernatural 
character with six fingers on each hand. The effect will be gotten by casting 
the little finger in plastic and then joining the extra digit by a liquid 
adhesive. Richard Purdy, who will play the part of the man from the unknown, 
will be on the stage throughout the entire performance but won't have a single 
line to say. 

[March 6, 1950 New York Times]

... a survey [of 447 students] conducted by the Burdick Junior High School of 
Stamford [Connecticut] ...

... Asked to name the [television] program they most enjoyed, they listed 
preference[s] in this order:

1. Milton Berle
2. Ed Sullivan's "Toast of the Town"
3. Six-Gun Playhouse
4. Wrestling
5. Captain Video
6. Arthur Godfrey and His Friends [and] Roller Derby (tie)
7. Lights Out [and] Paul Whiteman (tie)

The total number of shows mentioned was forty-seven. Of these, nine are 
designed primarily for a children's audience, thirty-eight for an adult 

[March 18, 1950 New York Times]

The rapid growth of television in the New York area was illustrated yesterday 
in the first Hooper report to correlate in one listing the popularity of both 
television and radio programs. Nine video shows finished among the first 
fifteen in the local report, according to the Hooper organization, as against 
only six radio shows.

The programs finished in the following order: Milton Berle-TV, Arthur 
Godfrey's Talent Scouts-TV, Toast of the Town-TV, Godfrey's Talent Scouts-
radio, [Lux] Radio Theatre-radio, The Goldbergs-TV, My Friend Irma-radio, 
Arthur Godfrey and His Friends-TV, Studio One-TV, Jack Benny-radio, Philco 
Playhouse-TV, Walter Winchell-radio, Lights Out-TV and Suspense-TV. ...

[April 21, 1950 New York Times]

Frank Gallop has been named as a permanent replacement for Jack La Rue as host 
on N. B. C. television's "Lights Out" series. Gallop had been serving on a 
temporary basis during the last few weeks.

[May 14, 1950 New York Times]

... The fees paid to writers tend to parallel the pay rates in radio, even 
though more work is involved in TV. Here are some examples cited in the [Ross 
Reports on Television Programming] survey for both original works and 

One-Hour Programs

Ford Theatre, adapta. $500.
Kraft Theatre, orig. and adapta. $350.
Philco Playhouse, adapta. $500.
Play's the Thing, adapta. $425.
Studio One, orig. $700; adapta. $300-$400.

Half-Hour Programs

Chevrolet Tele-Theatre, orig. and adapta. $400-$500.
The Clock, orig. and adapta. $350 appr.
Colgate Theatre, orig. $500, adapta. $400.
Lights Out, orig. and adapta. $350.
Silver Theatre, orig. $500, adapta. $400.
Suspense, orig. $300-$400, adapta. $200-$250.
Plainclothesman, orig. $200. ...

[May 27, 1950 The Billboard]

Lights on Again

NEW YORK, May 20.--Admiral this week canceled its Lights Out video show on NBC 
following a botch on the Monday (15) show, but three hours later changed its 
mind and renewed thru the summer. During a commercial calling for rear-screen 
projection, three lights blew in succession, virtually killing the plug. 

After a brief cooling - off period the sponsor decided that it was just one of 
those things and that nobody was to blame.

[June 2, 1950 Washington Post version of syndicated Radio in Review column by 
John Crosby]

... "Lights Out," which, I guess, is NBC television's answer to CBS' 
"Suspence," [sic] appears to have settled permanently in the realm of the 
supernatural. This is a happy device for the writers, because you don't have 
to explain how old Cyrus McFlint was pushed out the window of a locked room. 
He was pushed by the ghost of old Horace Pruneface, his former business 
partner, who was discontented with the way Cyrus was handling his estate.

Convenient as this is for the writer, I find it totally exasperating to the 
listener. [sic] The writing of ghost stories requires more skill than the 
invention of hants [sic] who can walk through locked doors two minutes before 
the half hour is up to wreak vengeance on the guilty. The writers of "Lights 
Out" also have a great addiction to water. At various times, I've seen a 
murdered husband rise out of the deep, blue sea to strangle his murderous wife 
and another murdered husband, festooned with seaweed, haul himself out of a 
river to inflict justice on his wife and her lover. Every time a stretch of 
water appears on "Lights Out," a specter crawls out of it. It's enough to 
frighten a man away from his own bathtub.

Level Even Lower

Last Monday's "Lights Out" touched a level even lower than seaweed. In this 
little horror, a nuclear physicist was pursued about his own house by a ghost 
which he described as "a soft, shapeless, mindless lump of undulating flesh." 
This soft, shapeless, mindless lump of undulating flesh had, it developed, 
fallen in love with the nuclear physicist. It kept fondling him, caressing him 
even when he was delivering lectures before the institute. The scientist found 
the whole thing revolting. So did I.

"Lights Out" used to be a pretty good show back when Wyllis Cooper was writing 
it for radio. It was full of imaginative little strategems to make your flesh 
crawl, but it was also written in a vein of sardonic humor and it contained 
some pretty interesting, if spooky, characters. It has retained nothing except 
the spooks.

[October 1950 "Radio In Review" column by John Crosby]

On Lights Out, the N.B.C.-TV show, a couple of weeks ago, a disfigured 
playwright locked himself in a tenement of an office to write a play. He 
created a couple of characters, as playwrights do, but these characters, 
unlike those of, say, Robert E. Sherwood, instantly sprang into existence in 
his dirty little office. One was a blind girl. The playwright had deliberately 
created her that way so she couldn't see his maimed face. Love ensued. The 
other character was her brother, a reptilian individual, who was the 
playwright's self or Inner Self, or something like that. I forget how it 

The other day on Stars Over Hollywood, a TV show filmed in Hollywood, another 
author set himself down in an old New England town to write a novel about the 
Puritans and was immediately confronted by a Puritan girl who had been dead 
for 289 years. She wanted her diary back. The author, as authors will, was 
shamefully pilfering ideas from it. He kissed her, her first kiss since 1668, 
and all sorts of complications arose.

I bring it all up now because the device of authors creating characters who 
suddenly loom up in front of the typewriter had better be given a rest for a 
while. Years ago, Wyllis Cooper did the same thing on the old Lights Out, the 
radio version. On this one, a radio writer created a bunch of pirates who 
chased him all over the house. And, of course, Pirandello experimented with 
the same thing in Six Characters in Search of an Author. (Nowadays they find 
the author.) ...

[October 29, 1950 The Billboard]

L&M; Considered For Kudner Sub Of Admiral Biz

CHICAGO, Oct 21. -- Lennen & Mitchell this week was under consideration by 
Admiral to handle its TV billings. While the account is still with Kudner 
agency, both the client and agency have been mutually dissatisfied with each 
other for some time.

The Admiral has been unhappy with Lights Out, its NBC-TV show. Kudner has 
solidly backed the mystery series because of its low cost and comparatively 
high rating. No decision has been made by the sponsor on whether to retain the 
NBC-TV package. ...

[October 29, 1950 Syracuse Post Standard]

A Chittenango viewer asks us how the ghoulish effect of a "bodiless" Frank 
Gallop is achieved on "Lights Out." (Mondays, 9 p. m. WSYR-TV). Here's how 
it's done. One powerful pin light, in front of Gallop on a table, points 
directly into the outside corner of his right eye. This causes his eyes to 
glitter unnaturally. Another "baby klieg" light is placed about three feet to 
his left, swathing his head in light from the chin up. Gallop wears a black 

Incidentally, this lighting literally blinds Gallop during his on-the-air 
sequences. In order to receive his cue from the floor manager, whom he can't 
see, he listens for a barely audible finger snap. And what's more, Gallop 
doesn't recover the complete use of his eyes until about an hour after the 

[October 29, 1950 New York Times]


To the Radio-Television Editor:

I am sick and tired of hearing television critics such as you criticize 
programs for presenting stories with horror as their themes. What do you 
expect to see on a Suspense story, a thrilling love story?

Suspense, Lights Out, etc., are programs meant for people like me. People who 
enjoy seeing on television horror and death in all its gruesome details.

If watching it was such a horrible ordeal, why force yourself? Turn the dial! 
Or shut up!

Brooklyn, N. Y.

[March 7, 1952 Long Beach (CA) Press-Telegram]


The television version of Arch Oboler's "Come to the Bank" is to be presented 
on KTLA's "Chevron Theater" at 9. The story is based on a series of flashbacks 
when Ada Moss, played by Anne Tyrell, tells her story to a newspaper reporter. 
Ada, a mental patient, has been unable to tell the story of how a psychology 
teacher has been trying to prove the power of mind over matter. 

[March 24, 1951 The Billboard]

TV Producer Gets 200 Rohmer Yarns 

NEW YORK, March 17.— Herb Swope, National Broadcasting Company-TV producer - 
director, this week acquired production rights to more than 200 short stories, 
novels and plays by Sax Rohmer, including the Fu Manchu stories. Swope's 
affiliation with NBC gives that web first refusal on any shows he develops 
from the Rohmer material. Two series are already in preparation. One is Fu 
Manchu; the other, Sax Rohmer Presents. Rohmer probably will act as narrator 
on the latter.

Wyllis Cooper, veteran radio and TV writer, is working with Swope on the 
Rohmer material. Lester Shurr will represent the series.

[March 30, 1951 - LA Times - "Drama" column by Edwin Schallert]


Herbert Bayard Swope Jr., who produces "Lights Out" for TV in New York and who 
expects to enter picturemaking, has acquired the rights to Sax Rohmer stories 
for the video medium as well as the screen. He intends to inaugurate a new 
series of Fu Manchu features, these having been very popular in the past, and 
has Writer Wyllis Cooper working on both the TV and film features. ...

[May 14, 1951 Syracuse Post-Standard]

Basil Rathbone visits Lights Out at 9 p. m. today, WSYR-TV, when he stars in 
"Dead Man's Coat," an original TV drama by Wyllis Cooper. Sounds like one 
weird tale coming up. It's about a man who believes that he will become 
invisible if he puts on a dead man's coat. His belief comes true. 

[May 19, 1951 Statesville Daily Record]

Super Duper Thrillers Needed To Give TV Ghost Stories 'Life' 

NEW YORK --(UP)-- A plain ordinary ghost story doesn't scare anybody anymore, 
according to a man who produces a supernatural thriller for television 

"You have to be very ingenious to carry your audience with you," Herbert 
Bayard Swope Jr. said. "With all the things going on in the world today we've 
been forced to accept a state of horror, and you just can't expect people to 
be frightened easily." 

Swope and his director, Laurence Schwab Jr. worry over elaborate lighting and 
sound effects to add chilling realism to the weekly plots of "Lights Out." And 
for every letter of complaint that they were scaring the family right out of 
the living room, Swope said they had a matching one complaining that the show 
wasn't scarey enough. 

One of their early problems was photographing a scene in which the script 
called for "a ghost shimmering in the background." 

"We tried a bale of tinsel, but that didn't look right, so we finally got 
ourselves a pale blue sheet and used changing lighting effects to give it the 
appearance of movement," the producer recalled. Ghosts can't be white on 
television, because of the glare caused by lights reflected from anything 

Another script called for an actor to fly through a window. When they 
rehearsed this one, Swope recalled with a grin, they kept Richard Purdy 
suspended so long from overhead wires that a floor manager finally had to go 
over and help him prop up his head. Finally the problem was solved by trick 
photography, and moving a wall with a window in toward the suspended actor. 

"We've never had an actor complain about any of the complicated routine you 
have to go through on a mystery drama," the youthful red-haired producer said. 
"In fact, every now and then one of the cast comes up with a suggestion to 
make the thing even more complicated and more blood curdling." 

When Burgess Meredith made his first appearance on the show, he had a final 
scene in which he appeared as a man from Mars with a third eye in the middle 
of his forehead. "We had the eye made to match his own exactly and he loved 
[it]," Swope said. 

The sound effect the producer recalled with the most satisfaction was that of 
a hoard [sic] of rats gnawing away at a bomb shelter housing the last two 
people left on earth. 

"The sound effects man tried chewing celery and carrots, but it wasn't quite 
right. Finally we recorded him crunching a mouthful of peanuts, shells and 
all, then we re-recorded it until we multiplied the sound hundreds of times," 
Swope explained. 

This all sounds as if it would make for nerve-wracking Monday evenings for the 
audience, but Swope claimed it wasn't as sinister as it sounded. 

"Right always triumphs in the end," he said reassuringly. 

[May 20, 1951 New York Times photo caption]

Martha Scott and Murvyn Vye will be the principal players in "Cat's Cradle" to 
be seen tomorrow night as the featured attraction on the "Lights Out" series 
over Channel 4 from 9 to 9:30 o'clock.

[July 1, 1951 New York Times]


... Among the [drama] favorites are the Cuban versions of "Grand Hotel" and 
"Lights Out." ...

[July 15, 1951 New York Times]

... "Author Meets the Critics" will depart from its usual custom of discussing 
a book over Channel 4 at 11 o'clock tonight and will take for its subject-
matter the "Lights Out" television program. Herbert Bayard Swope, Jr., 
producer of the mystery series, will appear as the "author." Ben Grauer will 
defend the show and Leo Gurko, Associate Professor of English at Hunter 
College will attack.

[July 1951 Theatre Arts article "Windy Kilocycles" by Arch Oboler]

Radio drama (as distinguished from theatre plays boiled down to kilocycle 
size) began at midnight, in the middle thirties, on one of the upper floors of 
Chicago's Merchandise Mart. The pappy was a rotund writer by the name of 
Willis Cooper, and the godfathers were an ex-instructor for a small Indiana 
university by the name of [Sidney] Strotz, and an ex-salesman by the name of 
[Niles] Trammell. ...

... it was in the play especially written for radio that Chicago had its 
greatest national influence-- there was created, by trial and many errors, a 
new art form that began with Don Ameche and the frothy First Nighters, and 
went through the horrific Lights Out until it had matured to the point where, 
as a radio playwright, I was given the precious network time to produce, 
write, and direct this new type of play written for the ear and the listener's 
imagination alone. ...

[August 5, 1951 New York Times]



IN devising a weekly TV drama series which frequently dabbles in the occult 
and the supernatural, Herbert Bayard Swope Jr., producer of "Lights Out" 
(Channel 4, Monday, 9 p. m.) tries to take people out of themselves without 
scaring them out of their wits.

The fact that more often than not he succeeds is the result of two things: a 
sense of responsibility to the viewing public and a precept which he inherited 
from his father, who once told him, "I can't give you a formula for success, 
but I can give you a formula for failure: try to please everyone."

For every two letters from viewers praising "Lights Out," Swope says, there is 
at least one letter accusing him of all kinds of awful things. Frequently, 
letters complain that the show wasn't terrifying enough.

"It's not my aim to terrorize people," he declares, "nor to suggest methods of 
committing crimes."

In dealing with the supernatural, Swope steers clear of gory murders. The old 
radio version of "Lights Out," he feels, would have been too horrible with the 
added dimension of sight.


Responsible for most of the editing and censoring which keep the "Lights Out" 
scripts within the bounds of good taste, Swope concerns himself with more than 
the mere elimination of gore. 

"Television," he avers, "thrusts itself right into a person's home before he 
has a chance to make a choice. A story that may make a fine movie might be 
disastrous on TV. After all, people can pick and choose before going to a 
movie theatre."

As an instance he cites the editing necessary for the performance of "The 
Heart of Jonathan Rourke." The original script dealt with a man who had a 
painful heart disease; the man seemingly died, but a doctor kept the heart 
alive, and eventually the man came back to life. After Swope's pruning -- 
which was dictated by a desire to avoid bringing grief to heart-disease 
sufferers in the TV audience -- the central character became a condemned 
killer, and the question of keeping his heart alive became a moral one: 
whether or not it was right to keep alive an evil heart.

Swope feels that he owes much of the success of "Lights Out" to the fact that 
the program does deal with the supernatural.

"It's not limited in scope," he said. "Logic, however, always prevails. You 
may not be able to explain the story rationally, but it's generally made 

His feeling of responsibility to the TV audience makes him more than a little 
disturbed about children and television. He does not deny that television, 
which he calls the "Twentieth Century Pied Piper," is currently offering 
children's entertainment that is more escapist and gun-conscious than 
culturally inspiring.

Swope graduated from Princeton in 1936, and divided the first decade of his 
professional life between advertising copywriting and the Navy. The fact that 
he had always been interested in the drama and that his advertising job was 
with the C. B. S. radio network decided him, after World War II, to go into 

He directed and produced a number of different types of TV shows for C. B. S. 
-- sports, remote pick-ups, among others -- but really hit his stride when he 
came to N. B. C. two years ago. He directed "The Black Robe," "Broadway 
Spotlight," and the City Service Band of America simulcast. He took over the 
production of "Lights Out" in March of 1950.

[October 14, 1951 New York Times photo caption]

Henry Hull and Dorothy Stickney play an eccentric couple in "I Spy!" on 
"Lights Out" over N. B. C.-TV tomorrow at 9 P. M.

[October 29, 1951 New York Times commentary by Jack Gould on the National 
Association of Radio and Television Broadcasters' Code of Ethics]

... Matrimony must be treated with respect under the code, which, of course, 
explains why only recently "Lights Out" had a neurotic tidbit on a man trying 
to sell his wife for $50,000. ...

[November 5, 1951 The Syracuse Post-Standard]

Lights Out at 9 p. m. on WSYR-TV uses the "mysterious" East as a setting for 
"The Chamber of Gloom." Geraldine Brooks will be seen as the American traveler 
who becomes enthralled with an Indian seaport town. Its another supernatural 
drama that Lights Out specializes in. Last week Arlene Francis and Lee J. Cobb 
were starred in another supernatural tale -- a story that was worth little 
except to show that the two stars made a terrific team. They'd be perfect in a 
better vehicle.

[January 1952 syndicated Radio and TV Comments column by John Crosby]

Back in June, Herbert Bayard Swope, jr., was awarded a citation of merit by 
the Delta Sigma Theta sorority for "his pioneering efforts in the fields of 
intercultural art designed to integrate the talents of all people as expressed 
in the television production 'Lights Out'" -- a real jawful of a citation if 
ever I read one.

I'm an avid collector of the starchy prose on citations and I've even been 
known to write a citation from time to time for the Peabody Award committee. 
"Intercultural art," though, never occurred to me. Neither did "integrate." 
Wait till next year. The citations I have in mind will rattle the back teeth 
of the Delta Sigma Theta sorority, them and their intercultural art.

The particular intercultural art of "Lights Out" has been the subject of 
considerable scrutiny by me and some alarmed concern by parents. I have a 
whole basketful of interculture here, most of it lurid enough to integrate the 
wits out of the more timorous members of the audience.

Just a week or so ago on that program, a trio of lunatics were conducting a 
Black Mass. Or at least they were trying to initiate a smallish boy into the 
society of the Devil over his (the boy's) strenuous objections. It was a 
lovely scene. The boy was writhing on the ground. The lunatics stood over him, 
alternately slavering for his blood and wheedling. "Join up, Sedgewick, give 
your soul to the Devil." "Mustn't keep the Devil waiting."

Eventually, through the intercession of another lunatic who was also a ghost 
(as were the three Devil-worshippers), the boy escaped into the protective 
custody of a more proper Deity. I'm not going to raise a clamor over such 
goings-on on television. The worship of the Devil was celebrated much more 
persuasively in George Bernard Shaw's "Don Juan in Hell," an entirely 
respectable operation on Broadway, and there's no reason why Mr. Swope 
shouldn't explore the subject, too.

I only bring it up as the sort of interculture that hovers over "Lights Out." 
They're looney over lunatics on that show, especially if the lunatics are also 
ghosts. I've collected a lot of "Lights Out" plots for you to hand on to the 
children who may have got to bed too early to see them. There was the one, for 
instance, about a newspaper columnist who hounded a politician to suicide in 
his column and somehow wound up in possession of the politician's ouija board. 
The ouija board spilled [sic] out some wonderful tips on who would be next 
president, next supreme court justice and so on, and ultimately lured the 
columnist into the stock market and catastrophe.

As ghost stories go, on "Lights Out," that was a rather mild one. Having made 
a pretty thorough study of the situation, I've concluded that the most 
vengeful, vindictive and menacing spirits are not men but women. My favorite 
was a young lady who appeared only as an image in a mirror. Scared hell out of 
a young bride who kept expecting to find her own reflection in the mirror and 
got this sinister babe instead. Interesting dilemma, though not entirely an 
unhappy one. (Many's the time I've wished to find some more presentable phiz 
in the mirror than the one that's there). The favorite hobby of another female 
spectre on "Lights Out" was leading engineers off cliffs so their little 
brains would be bashed out on the rocks below.

If this sort of ghostly interculture gets too pallid for you, you might switch 
to "Suspense," where they go in more for live people. Just the other night, on 
that show, a young female scientist got lost in a Florida swamp and came upon 
a cabin inhabited by a male scientist whose particular passion was head-
hunting. Hers was a splendid specimen.

Oh, yes, girls still meet boys in this form of literature. Object: mayhem.

[January 26, 1952 The Billboard]

Lights Out. NBC. Mon. 42 (No. of Cities). 2.227 (Homes Reached, OOO's). 
20.1 (Videomax Rating) 

(Sponsored by Admiral, thru Erwin, Wasey; weekly cost, $9000) 

Bruce Brighton's "The Silent Supper" was all about superstition in the 
Louisiana bayou country in the 1890's. It was full of mists and dark shadows. 
As the orphaned heroine on the make for a husband, Vanysa Brown gave a 
scintillating performance with Southern drawl. The point of it all was that a 
dark, young, bayou bumpkin is out for her body at any price; yes, even murder. 
At the end, he was on the verge of slitting Miss Brown's throat, when a nice 
boy friend of the girl happened along and shot him down. The supper of the 
title is a hen party the girl attends involving a dumb ritual to attract a 
potential spouse.

"Lights Out" specializes in horror and the supernatural, in the creaking door 
tradition. It follows "Voice of Firestone" and bucks "I Love Lucy" and a 
strong CBS line-up.

[February 10, 1952 New York Times commentary by Jack Gould on TV drama]

... Week after week the set owner is treated to the spectacle of some of the 
most accomplished artists available -- Raymond Massey on "Lights Out" and 
Beatrice Straight on "Circle Theatre" were two of last week's victims -- being 
wasted on implausible or incredibly trite plots. ...

[February 16, 1952 The Billboard]


Public Reaction Cues Axing of "Lights Out"

Admiral Corporation's cancellation of its sponsorship of "Lights Out" on the 
National Broadcasting Company Friday (8) was partly because of the heavy load 
of special events Admiral has scheduled, and partly due to public reaction 
against crime shows. Admiral execs had been increasingly conscious of public 
ill will that was coming with the show, along with its creditable ratings.

The decision to cancel came the same day that Chicago's police commissioner, 
Timothy O'Connor, sounded off against crime shows on TV. O'Connor, who is not 
a reformer and rarely gives interviews, on Tuesday night watched three network 
crime shows in a row. Wednesday he called in reporters and said that TV should 
put the damper on its crime shows because they are going into such detail that 
youngsters are bound imitate them. O'Connor said he is imposing strict 
regulations on his own three children as the result of watching the Tuesday 
night episodes.

Whether O'Connor's pronouncement had anything to do with Admiral's decision 
wasn't stated but it is the sort of thing that built up to the decision to 
cancel. Admiral's scheduled special events include the political conventions 
over the American Broadcasting Company, radio and TV nets, and The Chicago 
Tribune's Golden Gloves finals and all-star football game, both over Du Mont 
and Mutual.

[February 18, 1952 Syracuse Post-Standard]

At 9 p. m. on WSYR-TV Lights Out will depart from its usual supernatural 
mystery format to present a documentary drama on the work of the Eye-Bank for 
Sight Restoration. The special program, called "The Eyes from San Francisco" 
will star Thomas J. Mitchell.

[Excerpts from _Television and Education in the United States_ (UNESCO, 1960)]

... But we are persuading sponsors to take their _whole_ programme and devote 
it to enlightenment. Whenever possible, the programme does not warn the viewer 
in advance that he is to be educated, nor does it tell him afterwards that he 
has been. It is an entertainment which uses the materials of fact. Since 
October of 1951, we have done about 40 such programmes. About seven of them 
were sustaining, including certain NBC operas in English,  Charles Laughton's 
readings of classics on Christmas Eve, a showing of the American painters' 
annual exhibition at the Whitney Museum and the like. Examples of sponsored 
[American television] programmes ... [include] 'Lights Out', doing a story 
about the Eye Bank, which resulted in over 2000 letters of commendation and 34 
people willing their eyes to help some blind person regain sight. ...

[March 19, 1952 New York Times]

"Lights Out," presented over Channel 4 on Mondays at 9 P. M., will change to 
an alternate week schedule when its sponsor, the Admiral Corporation, 
discontinues sponsorship next Monday. Herbert Bayard Swope Jr. will resign as 
producer to work on the proposed "Fu Manchu" TV film series and will be 
replaced by Caroline Burke.

[March 30, 1952 Washington Post article excerpts]

'Lights Out' on Television

How Does a Girl Get to Be a Creep's Creep?

By Sonia Stein

The vision of pure delight in the accompanying picture has elected to become 
"the creep's creep." Newly assigned to produce NBC-TV's eerie "Lights Out" 
series when it goes sustaining April 7 (Mondays, 9 p. m., WNBW), Caroline 
Burke wants to be as creepy as the next guy or maybe a little more so. ... 
[Photo shows attractive smiling woman, caption: MISS BURKE]

... For her latest venture -- this eerie series -- Caroline leans toward the 
classical and expects to open with Edgar Allen Poe's "The Pit and the 
Pendulum." Caroline credits Poe with writing all the camera and audio 
directions, since the story has such minute detail of sound and movement. For 
noises, Caroline hopes to try tympani, and for atmosphere some Goya drawings. 
"It may not come out at all -- it's really not a drama" but a study of 
apprehension and agony, admits Caroline, but she's willing to try for 
something different. She's already lined up a new Arch Oboler TV drama about a 
dog and some murders in which the camera is the dog.

Because -- as a sustainer -- this show must now operate on a low budget, 
Caroline isn't sure she can afford to keep Narrator Frank Gallop to speak 
spookily from the candlelight's flickering shadows. "The only real gimmick we 
need is quality," she consoles herself. But then she gets an idea. "I wish we 
could afford Peter Lorre: I'd have him introduce the shows like a creepy 
Robert Montgomery."

[April 3, 1952 New York Times]

... "Lights Out," televised over Channel 4, has obtained a new sponsor, the 
Pearson Pharmacal Company, effective Monday at 9 P. M.

[April 5, 1952 New York Times]

... Pearson Pharmacal Company will take over sponsorship on Monday of "Lights 
Out," television program, for its Ennds Chlorophyll Tablets. Advertising in 
color in several national magazines also begins this month. ...

[April 28, 1952 The Syracuse Post-Standard]

'Lights Out' Show Being Darkened By 'I Love Lucy'


Lights Out, one of last season's top-rated mystery shows, is still producing 
those thrillers with the same skill but the viewers just ain't viewing! 

The show, which deals with supernatural themes and enacts such play-chilling 
results, is unfortunately facing an almost sure death against its companion 
show on WHEN, I Love Lucy. 

Working with such an illusive theme as the supernatural, Lights Out has been 
able to harness its tales into real spine-tingling dramas. Its plays are 
inclined to irritate some by the "unfinished" ending quality often closing a 
drama but still the tense, thrilling mystery of the supernatural is there--and 
there is no set answer to it, after all. 

Lights Out uses lighting effects and varied camera technics to hold its 
viewers in high tension. Only occasionally has it overshot on these methods, 
the results being absorption in technic rather than in content. 

All in all, it has the stuff mystery fans go for. It's not based on fact, or 
taken from the official files of law enforcement agencies, but when a hot 
Monday comes along, a cooling breeze can be felt from this chiller. 

It's at 9 p. m. on WSYR-TV. 

[May 1952 Kiplinger's Personal Finance]


... When Xavier University in Cincinatti asked 12 and 13-yearolds to list 
their favorite shows, the answers included such dead giveaways as "Six Gun 
Playhouse," "Lights Out" and "Man Against Crime." ...

[June 1, 1952 Washington Post]

Foolish Tops Ghoulish In Monday TV Battle

By Sonia Stein

IT'S A battle -- the foolish vs. the ghoulish, with the foolish 'way out 
front. "I Love Lucy," CBS-TV comedy series (WTOP-TV, Monday at 9 p. m.) now 
enters 30 million homes every week and is America's No. 1 TV show according to 
all four national TV surveys. Star Lucille Ball is Time's cover girl (May 26) 
and subject of an admiring biography. Look takes a peak (June 3).

'Way in arrears as far as viewers go, is the NBC-TV (WNBW) show opposing it at 
that hour. "Lights Out," the eerie series, used to have a highly respectable 
rating itself. But it had lost its supernatural hex appeal. And Lucy was too 
much for it. Resigned to second best in that spot, Producer Lawrence Schwab, 
jr., knows he has to fight a bloody fight just to give Lucy a good run for the 

"Lights Out" had gradually run down hill in audience until it lost its sponsor 
in April. Then Schwab was assigned to take over for a new sponsor, and 
immediately set about luring back such audience as he could. Studying the 
situation dispassionately, Schwab reasoned that he couldn't hope to get an 
audience with any such watered-down series as "Lights Out" had become. He wuld 
have to offer the genuine blood-curdling, timber-shivering, goose-pimpling 
macabre McCoy.

"Lights Out" had become "luke-warm tea," says Schwab. When the horror was 
diminished "it vitiated the punch," he figures.

No sissy pants he, Schwab got right to work finding stories which are more 
witches' brew than tea.

The first story of his selection was about a house which drank blood from its 
unknowing occupants, until they became weaker and weaker while the house began 
to pulsate with blood. Throbbing sounds filled the rooms and cracks, like 
veins, began to stand out on the walls. The young hero and heroine of the 
piece finally put a spike through one of these "veins" and were greeted with a 
gush of blood. Ugh!

Last week's story showed a death mask which came alive and opened its eyes and 
spoke from the living room shelf where it had been placed. Ugh!

IN BETWEEN we've had comparatively tender stories -- each one guaranteed to 
bring back to the clammy bosom of "Lights Out" any bloodthirsty soul whose 
attention may have wandered during the winter months when "Lights Out" had 
become a rather thin drama series, paying little more than lip service to its 
sinister heritage.

Curiously, one must say in defense of Schwab that his productions are not so 
much grisly as they are shocking in the best dramatic sense of the word. He 
knows how to build to a ghastly climax just the way rival Lucille Ball knows 
how to build to a comedy climax. Schwab, who has directed comedy and musical 
comedy as well as suspense shows, says the techniques are not substantially 
different and refers interested parties to Veblen's "Art of Laughter."

The sets for "Light Out" are important to the task at hand, and Schwab has 
Dick Sylbert chained to his desk for that purpose. Sylbert and his twin 
brother, Paul, who has designed sets for "Suspense" and "Studio One," won the 
top marks ever given in the exam conducted by the scenic designers union.

Schwab, a 30-year-old bachelor, doesn't worry about what his show will do to 
children. "It's up to the parents to decide if their children should be 
allowed to look," he figures. As far as he's concerned the kids can watch 
Lucy. He just wants to win back those inveterate ghouls who wandered away from 
"Lights Out" during its luke-warm tea era. Schwab has a chill brew of hemlock, 
nightshade and batsclaws waiting. ...

[June 9, 1952 Council Bluffs (IA) Nonpareil - TV Chatter column]

Still 'Fluffs' After 5-day Rehearsals

By Richard Kleiner 

NEW YORK -- Watching television drama, it's amazing how many technical 
"fluffs" there are. But when you watch behind the scenes while a TV drama is 
put together, it's amazing that there should be any at all. 

The time and money and effort that are poured into a half-hour program, like 
NBC's "Lights Out," is unbelievable. To see for myself how a TV drama is 
produced, I joined the cast of "Lights Out" for one show. I was a Paris 
gendarme, a non-speaking role that required all sorts of talent -- like 
knowing how to use a flashlight, salute and nod my head. 

It costs between $7500 and $12,500 to produce this show. There are dozens of 
technicians needed, expensive costuming, lighting, set building. The cast 
rehearsed five days, running through the words and action over and over. 

Laurence Schwab, jr., the producer-director, and his assistant, Sutton Roley, 
first meet the cast on the Thursday before the Monday the show goes on. 

Our seven-person cast started that Thursday by "blocking out" the action. 
Reading from the script, we walked through the play, with Schwab and Roley 
figuring out camera angles and the acting treatment. 

Cuts and More Cuts 

"Do it the way you feel it," Schwab would tell us actors. The others would say 
"I don't feel this speech," and proceed to change it. 

All Thursday afternoon and most of Friday, we blocked. Late Friday, we had our 
first complete run-through, for timing. It took 24 minutes. A half-hour drama 
program has about 21 or 22 minutes of drama, so we made cuts. 

On Saturday came more run throughs, more cuts. One whole scene was killed. 
Sunday, the cast was joined by the technical and stage directors and the 
lighting and sound engineers. 

Monday, the day of the production, we held our run-throughs in the studio, 
working with sets and props for the first time. Then, in costume, we held one 
more run-through and the dress rehearsal an hour before we went on the air. 

The actors embraced each other emotionally in the final seconds before air 
time, and we were on. I wasn't nervous. We'd done the play so often, I could 
do it in my sleep. In fact, I've been doing it in my sleep ever since. ...

[September 16, 1952 New York Times]

"Hollywood Opening Night," a new dramatic television series originating "live" 
in Hollywood, will make its debut over Channel 4 on Monday, Oct. 6, from 9 to 
9:30 P. M., replacing "Lights Out." William Bendix will be starred in the 
initial drama as "Terrible Tempered Tolliver," a baseball umpire who never 
reversed a decision.

Bill Corrigan will be the producer-director for the new series, which will be 
sponsored by the Pearson Pharmacal Company.

[May 1, 1966 Appleton Post-Crescent article by former NBC sound man Fred W. 

... On such programs as the always gruesome "Lights Out," which sometimes 
employed as many as three sound men, we learned that chopping a cabbage is 
perfect for the sound of the guillotine; that chopping the way to a man's 
heart can best be done with a pound of calf's liver. ...

[December 20, 1966 Chicago Tribune column]


... Bob Brown, Leo Burnett ad exec, is piqued over what he calls "the 
inference" here and elsewhere that visiting Arch Oboler originated the old, 
macabre Lights Out network radio show. Oboler, promoting the Wed. opening of 
his weird new flicker, "The Bubble" at the Woods, is first to admit the show 
was the brain-child of the late, talented Chicago scripter, Willis Cooper. 
Arch took over later. ...

[December 30, 1966 Chicago Tribune columnist talks to Oboler]

... A somewhat comparable program [to Lights Out] to come along later on 
television was Rod Serling's Twilight Zone, which [Arch] Oboler regarded as 
"most interesting. But Serling unfortunately didn't write all the shows, and 
many of them tended to end on a nonsequitur. I don't mind nonexplanations, but 
there was nothing leading up to them. The producers of science fiction 
programs today, such a[s] Outer Limits and Star Trek, seem to be entranced by 
special effects. They get carried away by the wonder of it all." ...

[December 22, 1969 Broadcasting magazine letter column]

Disagrees on 'Lights Out' credit

EDITOR: Your Nov. 17 BROADCASTING carries the story of _Lights Out_ and its 
re-issue as a syndicated radio feature by some Hollywood show peddlers. Your 
yarn states that Arch Obler [sic] was the show's original creator ...

Lights Out was the brainchild of the late Wyllis Cooper. It came into being in 
the late '30's in Chicago. It was performed there by some of the fine radio 
names that made Chicago  the hub of broadcasting in the '30's ... Raymond 
Johnson, Betty Winkler. Bernadine Flynn, Sid Ellstrom, Art Jacobson to name a 

As an NBC property _Lights Out_ was ultimately moved to New York. On the death 
[sic] of Cooper the direction of the show was taken over by Obler [sic]
adopted Coop's format and added few if any touches of his own, except name 

Robert Brown, Lexington, Ky. (NBC Chicago announcer, 1932-1946; now intructs 
in broadcast advertising, University of Kentucky).

[April 12, 1970 Fresno (CA) Bee Republican]

Station KMJ Will Air Suspense Drama Of 1930s Radio Era 

If you are of the over-40 set and enjoy wallowing in nostalgia, Radio Station 
KMJ will attempt to bring back the "golden days of radio" tonight at 8 

The station will air "The Devil and Mr. O," a segment of "Lights Out" suspense 
series which was highly popular on radio in the 1930s and the early '40s. The 
broadcast will be replayed from a tape made of the original radio broadcast in 
the late '30s. The play is by Peabody Award-winning writer-producer Arch 

Jeff Nagle, manager of KMJ said that if public response warrants, the entire 
"Lights Out" series will be aired on the station at a later date. Nagle added
that although the tape of the suspense drama is more than 30 years old, the 
technical quality is high.

Nagle said that the rebroadcast of old radio dramas is being tried in various 
cities around the nation and the response of the public has been "little short 
of amazing." 

The radio drama, of the type aired 30 to 40 years ago on such series as "Inner 
Sanctum," "Suspense," "Lights Out" and "The Whistler," will offer a whole new 
experience to the youngsters of today who are steeped in the visual drama of 
TV rather than the drama of the ear or mind offered on radio in the 1930s. 

By D.S. 

[January 20, 1972 Oakland Tribune]

Bob MacKenzie - On Television

Lights Out Time 

Sometimes nostalgia is something we feel for things that happened so long ago 
we've forgotten how dumb they were. 

Old radio programs, for instance. We can remember enjoying "The Shadow," but 
can anyone remember why? 

Gene Nelson, on KSFO, is currently running a series of old radio shows weekday 
evenings from 10 to 11. You might enjoy these, but probably not for the same 
reasons you used to. 

If television doesn't seem very sophisticated to you, wait until you hear an 
episode of "Tom Mix." 

The "Tom Mix" episode last Wednesday night had Tom battling the Nazis. This 
program was one aired on VE Day in 1944, and Tom added a closer: "You know 
we've taken care of Germany, kids, but we've still got to think about Japan." 
This was followed by an old "Suspense" episode, with Cary Grant as a man who 
wakes up on the sidewalk and finds he's accused of murder. He was finally 
sprung by a paralyzed witness who described the murder by blinking his eyes. 
Cary came on at the end to close "with just seven words: buy more war bonds 
and keep them." 

Thursday offered a Mercury Theater production of "The Count of Monte Cristo" 
with Orson Welles as the count. In the past few days Nelson has run episodes 
of "Captain Midnight" and "Superman," and dramas starring Clark Gable, Peter 
Lorre and Robert Taylor. 

Tonight's revivals included a "The Whistler" episode and a 1945 "Dick Tracy" 
program that has an unusual moment: it is interrupted by the news bulletin of 
Hitler's death. 

Friday's schedule calls for one of the old "Lights Out" dramas, written and 
produced by Arch Oboler in 1948. [sic] 

This is a coincidence, as television tried a revival of "Lights Out" this 
week: an hour story titled "When Widows Weep," with Joan Hackett as a doll 
maker haunted by her dolls. 

I also have a letter, dated a few days before the program aired, from Arch 
Oboler himself. He is burned about NBC's treatment of "Lights Out." 

Oboler created [sic] the old radio show, and apparently supplied the idea for 
the television version. His letter gives a clue to the way things are done in 
Hollywood, or at least the way disappointed writers think they are done.
Oboler says: 

"Two years ago I brought to 20th-century Fox the idea of a "theater of the 
mind" Lights Out series which was to be my debut on TV. [sic]

"20th sold my idea to NBC, but from that day to this I have never been 
consulted on any element of the pilot, in spite of the fact that 
contracturally [sic] I was supposed to be the writer, director, producer. 

"In plain words, for better or worse, I have had absolutely nothing to do with 
the present Lights Out pilot, either in its format, or its content. 

"My ideas and plays still remain happily virginal in their Santa Monica 
Mountain cave, awaiting the executive genius who will realize that an 
outstanding television drama series comes about, not through any executive 
committee's wheeling (or through the use of an old radio title) but out of the 
creative heart and mind of a playwright. 

"Cordially, Arch Oboler."

My memory of Monday's "Lights Out" tells me Oboler is wise to make it clear he 
had nothing to do with it. From a rather compelling idea (dolls are spooky, 
after all) and a good cast (Luckinbill and Hackett were fine) NBC managed to 
get a choppy, confusing drama that fell to pieces at the end. The cutting was 
so abrupt and the sense of time and place so hazy that perhaps it was a 90-
minute film chopped to an hour. At any rate, it limped. 

The script was probably, as Oboler hinted, written by a committee. But that's 
hardly unusual. By the time a television script passes through the hands of 
producers, executive producers, story directors, and the studio owner's wife's 
astrologer, it has become the kind of succotash considered suitable for 
feeding to the TV audience. 

But those old radio plays weren't so hot, either. 

[January 7, 1973 Washington Post "Radio: The Lost Medium" by Michael Kernan]

... True radio technique was pioneered by Wyllis Cooper, whose midnight horror 
show, "Lights Out," was taken over in 1935 [sic] by Arch Oboler. ...

Reached last week at his home in Malibu, Oboler said he now works in TV and 
radio -- he has just completed work on a 3-D film -- but still [misses] the
radio days.

"It was a great art form, and we didn't know it at the time," he said, "I 
think Cooper was the first to realize this. ... "

[October-November 1983 Nostalgia Digest - Chuck Schaden interviews Arch 

CHUCK SCHADEN: [Oboler sold his first script to NBC in 1933.] Did you start 
working regularly with writing scripts for NBC at that time then, or shortly 
after that?

ARCH OBOLER: No. You know, Charles, nothing goes that easily. It was quite a 
bit of time later that a chap named Wyllis Cooper got ill. [sic] He had 
started a program called "Lights Out." It was kind of a revolutionary program 
because it was an opportunity to write radio drama for radio.

You see, up to that time, radio was an imitation of the theatre and motion 
pictures. Lux Radio Theatre, the Screen Guild, they really were three act 
plays done in the manner that one would do a play, but not look at it. And 
"Lights Out" - when it was offered to me — I saw an opportunity. So, I started 
. . .and although it was a horror series (one out of three was a horror play 
and the other two were idea plays) [sic] ... I had fun because, you see, I 
started to do radio for radio . . .for the ear. It wasn't an imitation of 
anything. I took a few words, a bit of music, a sound effect and suddenly you 
were transported where I wanted to take you. ...

[February 23, 1986 article from the Chicago Tribune SUNDAY MAGAZINE in FINAL 
EDITION, section C, pg. 7, headlined "Way We Were / A look at Chicago's past / 
some reason, Arch Oboler's name is spelled incorrectly throughout.] 

Turn off the lights. Turn on the radio. Now sit with your back to the radio, 
alone in the dark. And listen to a sinister voice tell you that something ... 
something ... is creeping up behind you ... reaching for your neck ... but 
don't turn around ....

And then, suddenly ... .

But that would give away one of the terrifying taped episodes of "Lights Out," 
a radio show that originated in Chicago and chilled the blood of listeners for 
several years. "Lights Out" debuted on April 17, 1935, as a 15-minute show 
[sic] on NBC's Red Network out of Chicago but was so popular that it was 
expanded to a half hour. It ran until Aug. 16, 1939, according to Chuck 
Schaden, host of WNIB-FM radio's "Those Were the Days" show and WBBM-AM's 
"Radio Classics."

Willis Cooper was the writer who originated the show, but he left for 
Hollywood in 1936. Arch Obeler took it over "and made it his," according to 
Schaden. "Lights out, everybody," was the announcer's greeting during the 
show's Chicago run.

The spirits, ghouls and other minions of evil on "Lights Out" were very real 
to the regular fans, who often literally turned out their lights and sat close 
to each other in the dark to listen. Such masters of the macabre as 
Hollywood's Boris Karloff and Peter Lorre appeared in episodes, as did a whole 
host of talented shrieking and screaming local dramatic personnel.

A column about radio in The Tribune in 1936 notes that one local star of the 
show, Sidney Ellstrom, "has been put to death in the show more than 100 times. 
And his endings have all been grisly and gruesome. He's been skinned alive, 
boiled in oil, devoured by a man-eating jungle plant, strangled by a vampire. 
He has been drowned, electrocuted, poisoned, buried alive, decapitated and 

Another column notes that hard-boiled fans after one episode accused Cooper of 
"going soft." The previous night's episode had been too tame, they charged. 
The episode "concerned a guy harassed by his subconscious mind and wound up 
mildly with three suicides," the columnist related, noting that Cooper 
admitted it was not quite up to standard. Cooper "brooded for several days," 
then cooked up a "masterpiece of fiendishness" which he called, "Sepulzeda's 

"It will satisfy all who insist on HORROR with capital letters," Cooper said. 
"In this one," the columnist recounted, "Cooper warms up on a cleaver and 
trunk murder and tops it off with an episode in which a husband beheads his 

Jules Herbuveaux, 88, former vice president of the National Broadcasting 
Company and first general manager of radio station WMAQ, remembers "Lights 
Out" as "a good, scary show." He notes that radio writing can sound somewhat 
stylistic and stilted, compared with television drama. In a radio show, a 
character might have to say, "Hand me that wrench over there. I've got to get 
this bolt loose." (GRUNT!) (SCREECH). On television, there's no need for such 
a monologue. The viewer sees the wrench and the bolt and the effort it takes 
to loosen it ... and thereby gains realism but loses what can only be created 
by personal imagination, Herbuveaux says.

No picture can convey the horror expressed by the doctor who enters a room to 
find a man turned inside out by "The Dark," while a crazed hag laughs in the 
background, or his scream of terror when the creeping dark engulfs him.

The sound-effects man played a more important role on "Lights Out" than on 
most radio shows. Herbuveaux chuckles as he recalls one "who was the first man 
to drop a pumpkin off a 12-foot stepladder onto a concrete slab to simulate a 
body hitting the pavement."

Probably one of the sound man's triumphs on "Lights Out" came when a dentist 
strapped down a patient and drilled his teeth away--without anesthetic --in 
revenge for some atrocity the miscreant had visited upon a young wife named 
Mary. The sound of the drill was most compelling.

In 1942 Obeler revived the show in New York, over CBS. It went off the air in 
1946 [sic] but returned adapted for television from 1949 to 1952, Schaden 

The most famous of all "Lights Out" programs -- the one most listeners recall 
-- had overtones of Orson Welles' "War of the Worlds." It involved a chicken 
heart that ran amok in a scientist's laboratory ... beating ... beating ... 
and doubling in size every hour until the pulsating organ burst out of its 
building, engulfed the town and threatened to engulf the world. Efforts to 
stop it were too little and too late.

[October 1986 United Press International article excerpts]

Writer believes in the magic of radio 

by Vernon Scott 

HOLLYWOOD - Radio drama hardly exists these days, but there was an era when it 
commanded millions of listeners. That's because of a man named Arch Oboler. 

Oboler, 76, produced a variety of radio series and dramatic shows for the 
various networks between 1940-45 before television became the country's prime 
entertainment medium. ...

"In the '30s radio was as big as TV is today," said Oboler ... "The big 
difference was that movie stars found radio compatible with their screen 
careers. They were more than happy to make guest appearances or even star in a 
weekly radio show. We paid them $21 for appearing on the air, which pleased 
them because we plugged their new movies. 

"Today most superstars want no part of TV. And can you imagine any of them 
working for $21? 

"In many ways radio was more effective for drama than television. The impact 
on the listener's mind was greater. The monsters a person can invent in his 
own mind are far more sinister and horrifying than anything a playwright or a 
special effects person can dream up. 

"ALSO, NO woman is as beautiful nor any man as handsome as a member of the 
audience can imagine." 

Oboler said old radio shows are a rich vein of plots for today's movie and TV 
writers and producers. 

"One of my radio shows was titled 'What The Devil,'" he said. "It was remade 
into a movie titled 'Duel' by Steven Spielberg with Dennis Weaver playing a 
motorist who was stalked by a truck. 

"When that picture came out I received no money or screen credit. But I 
reached for a lawyer and got paid off by Universal Studios. I still hold the 
copyrights on all my shows. 

"I would like to see more drama and comedy shows on radio. For the most part 
radio has regressed to pop music and a little news." 

In the years between his ventures into movies and his current project with 
audio cassettes, Oboler — short, stocky and bursting with energy — has busied 
himself writing novels. He has lived in the same house, built for him by Frank 
Lloyd Wright, for 46 years. 

"I keep writing and putting my work aside," Oboler said, grinning. 

"Eventually, I would like to get into television production. In TV, a world of 
the completely blind, I at least have one good eye." 

[September 4, 1995 The Press-Enterprise (Riverside, CA) - TV and radio column 
by Bob Sokolsky]

... Same but different

 Veteran viewers and listeners may recognize the title, but that is a new 
"Lights Out" NBC is developing as a movie and  potential miniseries.

According to network spokeswoman Rebecca Marks, this will be a new concept and 
is not being adapted from the radio series  Wyllis Cooper and Arch Oboler 
created for NBC in 1934.

It was later converted into two TV shows, one a syndicated [sic] affair that 
ran in 1946, the other, an NBC project, that appeared  from 1949 to 1952.

Marks says this latest version is going in a totally different direction by 
focusing on a family telling "haunting tales."

Last updated: 23 May 2009