This article originally appeared in Radiogram, January 2016.
Without any known recordings of Real Folks, the closest we can currently get to hearing that classic series is a partial re-enactment broadcast on the November 17, 1940 Behind the Mike. The episode can be found online at different sites (http://ia802502.us.archive.org/13/items/Behind_The_Mike/Behind_The_Mike_40-11-17_ep09_Making_A_Living_By_Dying.mp3) and the Real Folks segment begins about ten minutes in. In it George Frame Brown, Elsie Mae Gordon, Irene Hibbard, and Edwin Whitney gathered to reprise their roles. We can also get a sense of the show through contemporary accounts and some continuity that was reprinted in one radio publication of the era. Various story lines focused on the discovery of oil, starting a newspaper, graduation, a talent show for the local orphanage, knitting contests, and adoptions. A portion of the one known script excerpt is included below:
Elmer: Eleven goes in 78 – seven times and one to carry –
(Prince whines and scratches at the door.)
Elmer: Hello Prince, old boy, what’s the matter? You want out? All right, I’ll let you out, old boy. Betcha smell a rat, huh?
Matt: He Elmer!
Elmer: Yes, Uncle Matt.
Matt: Where you goin’?
Elmer: Prince wants out –
Matt: You sit down there and finish your homework – I don’t want to see any such report card as you brought home this week.
Elmer: But gee, Uncle Matt, he’s scratchin’ and beggin’.
Matt: He’s beggin’ for one of them peppermints you’re nibblin’ on.
Elmer: Come on Prince.
Martha: Here, Matt, I got another kerosene lamp fixed.
Matt: Thanks, Marthy, I’ll just put this one over near the potato bin. My golly, it seems funny dependin’ on these old kerosene oil lamps after spoilin’ ourselves so long with electricity.
Martha: If you ask me, I still think they’re as good as bulbs.
Matt: That’s a fine way for you to talk – and me president of the light and power company. It’s a lucky thing we got the mail out before the fuses blew –
Martha: I thought there’d be more folks in askin’ for their mail. I guess maybe it’s too cold.
Martha: That sounded like the front door.
Matt: Who is it?
Bill: It’s Bill Perkins. I brought some company over from the station.
Matt: Come on in and get warm.
Mitchel: Ah, I do not sell my work, but rather offer it for approval. I have known the acclaim of the crowned heads on the continent, I have been the guest of governors, municipal dignitaries, and scions of the country’s oldest families. My name and picture have been posted in all the great cities to awaken the anticipation of a grateful multitude.
Matt: Did you ever play on Broadway in New York?
Mitchel: New York! Bah! Illiterate boors with no taste or cultivation. A great artist could perish in the street without a second look. No, not in New York, but my career – my career … my … my career … a … a … a … has taken me to every important city … my … my … greatness … has …
(Voice fades – sound of body falling.)
Martha: Oh, gracious! What’s happened?
Matt: Sh-sh-sh … I guess he’s fainted. I can’t see his face in this light. Marthy, go in and make some strong coffee and warm some hot broth. I think I know what’s the matter.
By 1931 Real Folks had moved to WABC where it was broadcast over the CBS network with a new sponsor, Log Cabin Syrup. Brown hoped that the move to Sunday afternoon that came with the station change would restore the series’ children audience, many of whom had stopped listening as Real Folks had earlier settled into evening time slots.
By the next year, 1932, and four years after Real Folks had debuted, the program was running out of gas. Whether the quality had declined or the sophistication of radio listeners had simply passed it by, a Variety reviewer found little to like. The reviewer noted that motion pictures had left behind the rural sketches but radio was slow to catch on to that trend. He also indicated that the 30-minute length was too much compared to the quarter-hour length of similar shows. While nothing was overly poor about Real Folks, there was simply nothing out of the ordinary about the broadcast. As best can be determined, Real Folks left the air in the first quarter of 1932.
For the next few months Post Toasties sponsored George Frame Brown in a series of personal appearances during which he performed monologs with some of the radio show’s characters. Later in 1932 H. Emerson Yorke, who had previously worked for Paramount Long Island as a casting director before moving into radio production, filmed a trailer of Real Folks with members of the radio cast that was used to promote Brown’s personal appearances.
Brown’s one-man show was re-conceptualized as a full-cast stage version of radio’s Real Folks and it transitioned to the Broadway stage in fall of 1932. Brown headed the cast, with Virginia Farmer, Irene Hubbard, and Phoebe Mackay continuing from the airwaves and new actors George Usher, George Shields, Earl Redding, Flavis Arcaro, Gene Cleveland, Edward D’Oisy, Sam Monroe, Phillip Robinson, Norman Williams, and Elizabeth Erich joining them.
The play was renamed “Thompkins Corners” and a cross-country tour was scheduled to begin September 26, 1932. Audience enthusiasm for Brown’s creation had indeed dimmed, and after four weeks playing town halls and auditoriums the show folded in Syracuse. NBC had to step in and ensure that the actors got their promised pay. Interestingly, though it was the most publicized stage version of Real Folks, it wasn’t the first. Back in 1929 Brown had performed some Real Folks sketches on the Keith’s vaudeville circuit.