When “The Dead Laugh ” first aired on September 23, 1946 as part of Inner Sanctum Mysteries, American audiences were only one year removed from the end of World War II. The country was rebuilding — materially, emotionally, and morally. Questions about justice, authority, punishment, and mercy were not abstract ideas; they were daily headlines.

The original broadcast bore all the hallmarks of Inner Sanctum: the famous squeaking door, the mischievously macabre host, and a closing pun designed to relieve the tension with a nervous chuckle. But beneath those theatrical trappings lay something darker and more enduring — a psychological drama about guilt, pride, and poetic justice.

For this Repertoire Radio Theatre production, we made a deliberate artistic choice.

Rather than reproduce the original Inner Sanctum host and its winking gallows humor, we replaced the framing device with a narrative style inspired by The Whistler — a program known for its restrained menace, deliberate pacing, and moral inevitability.

Nearly eighty years later, “The Dead Laughg” feels remarkably contemporary. It reminds us that:

• Power can corrupt.

• Pride can blind.

• Guilt does not remain buried.

• Justice without compassion may become cruelty.

And perhaps most haunting of all:

The loudest ghosts are the ones we create ourselves.

This Repertoire Radio Theatre production features the vocal talents of Vic Caroli , Janina Birtolo, Cynthia Hile, Harbor Thoeni and Michael Troop . This audio file was recorded, mixed and mastered by Michael Troop.

Music and sound effects were obtained through a special license from pond5.com and may not be copied or reproduced for any reason.

This performance is presented as a historical recreation of a classic radio broadcast. All rights to the original script and characters remain with their respective copyright holders. This production is non-commercial and for educational and entertainment purposes only

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The play follows Mary Pooter, a sweet but simple shopgirl from Punxsutawney, Pennsylvania, who wins a radio contest sponsored by Crinkly-Crunkly Bread—“Nature’s Own All-Out Campaign to Build Sturdy Bodies and Strong Nerves.” Her prize? A visit from the company’s Good Fairy, who promises to grant her five wishes. Unfortunately, this particular fairy is less enchanted than overworked—a weary cog in a corporate promotion machine whose magic, like most advertising promises, comes with fine print.

As Mary’s dreams unravel—romance, fame, sophistication, and all—Corwin’s script veers from whimsy to poignancy, reminding us that no magic wand can grant self-worth or love. Mary and the Fairy is both poignant and comedic, a wry commentary on consumer culture that still feels surprisingly fresh today.

In this Naples Players Radio Theatre revival, the story takes on new resonance—a laugh, a sigh, and a knowing nod to anyone who’s ever wished for more than life (or a fairy from New Jersey) could deliver.

This Repertoire Radio Theatre production features the vocal talents of Kimberly Albrecht as Mary Pooter, Keneth Wetcher as the Fairy, Stenley Jean-Charles as Reggie… Jack Weld as Ronald DeVore and Michael Troop as the Romanian Prince.

Music Acknowledgment & Fair Use Notice

Music and sound effects were obtained through a special license from pond5.com and may not be copied or reproduced for any reason.

Excerpts of historic recordings are used in this production for purposes of dramatic illustration, historical reference, and artistic context and have been edited and altered for dramatic purpose.

All music excerpts are the property of their respective copyright holders and are used here in accordance with U.S. copyright law under the doctrine of fair use (17 U.S.C. §107).

This audio presentation features:

“The Farmer in the Dell (String Orchestra Version)”

Traditional nursery rhyme.

Performed by Kids Music / Children’s Music Symphony.

Distributed by IIP-DDS.

Source: YouTube.

No ownership of these works is claimed, and no commercial use is intended. Listeners are encouraged to seek out and enjoy the complete original recordings from authorized sources.

This performance is presented as a historical recreation of a classic radio broadcast. All rights to the original script and characters remain with their respective copyright holders. This production is non-commercial and for educational and entertainment purposes only.

Ever After was written by Keith Fowler and performed by an impressive pair of stage actors: Edith Barrett as Snow White and Vincent Price — yes, that Vincent Price — as Prince Charming. Before Price became famous for his iconic horror roles, he appeared frequently on radio dramas, bringing his suave theatricality to comedic and romantic parts alike. Their segment aired within a live variety program hosted by singer Rudy Vallée, blending music, comedy, and short dramatic sketches for a national radio audience.

This playful “what happened next?” story imagines Snow White and Prince Charming three years into marriage — long after the traditional fairy-tale ending. Unlike Disney’s pristine fade-out, Ever After explores the humorous realities of royal domestic life: a distracted prince buried under affairs of state, a princess longing for affection, a forgotten anniversary, and the gentle chaos of learning how to live together once the magic settles.

Part parody, part romantic comedy, and part affectionate tribute, the sketch offers audiences a charming glimpse into the ordinary marital squabbles of extraordinary characters. It blends familiar fairy-tale elements with smart, snappy 1930s radio humor, ultimately landing on the hopeful message that “happily ever after” is less a perfect ending and more a commitment to finding joy together — even when tempers flare and royal paperwork piles up.

In revisiting this delightful radio gem, we honor a unique moment in entertainment history: when early Hollywood, Broadway talent, and national radio combined to breathe new life into beloved fairy tales.

This Naples Players Radio Theatre production features the vocal talents of Michael Santos , Amy Hughes, Pat Ashton, Kip Jones, and Michael Troop . This audio file was recorded, mixed and mastered by Michael Troop.

Music Acknowledgment & Fair Use Notice

Music and sound effects were obtained through a special license from pond5.com and may not be copied or reproduced for any reason.

Excerpts of historic recordings are used in this production for purposes of dramatic illustration, historical reference, and artistic context and have been edited and altered for dramatic purpose.

All music excerpts are the property of their respective copyright holders and are used here in accordance with U.S. copyright law under the doctrine of fair use (17 U.S.C. §107).

Featured recordings include brief excerpts from:

•Heigh Ho - from Readers Digest Music, Wish Upon a Star Vol 2, film and fantasy favorites for the young at heart.

No ownership of these works is claimed, and no commercial use is intended. Listeners are encouraged to seek out and enjoy the complete original recordings from authorized sources.

This performance is presented as a historical recreation of a classic radio broadcast. All rights to the original script and characters remain with their respective copyright holders. This production is non-commercial and for educational and entertainment purposes only.

With those words — and the creak of a drugstore scale — 1940s radio audiences were introduced to one of the most distinctive sleuths of the Golden Age of Detective Drama: Brad Runyon, The Fat Man.

Created (at least in name) by famed mystery writer Dashiell Hammett, The Fat Man premiered on ABC Radio in January 1946 and ran for five suspense-filled years. The title role was played by J. Scott Smart, whose deep, sardonic voice gave Runyon the perfect mix of toughness, intelligence, and dry humor. Beneath the tongue-in-cheek title was a detective every bit as capable as Sam Spade or Philip Marlowe — shrewd, streetwise, and always a step ahead of danger.

Each week, listeners followed Runyon through smoky backrooms, city streets, and dark corners of post-war America as he solved murders, blackmail plots, and crimes of passion. The show’s hook — the detective’s size — became more than a gimmick; it was a symbol of confidence and self-possession. The Fat Man proved that courage and intellect, not appearance, were the real measures of a man.

In 1951, Runyon made the leap to film in The Fat Man, directed by William Castle, with Smart reprising his role and circus legend Emmett Kelly appearing in a rare dramatic performance. Though only a handful of radio episodes survive, The Fat Man remains a classic example of American radio noir — a blend of wit, grit, and danger that still tips the scales of suspense.

This Repertoire Radio Theatre production features the vocal talents of Jim Heffernan as the Brad Runyon,The Fat Man, Kenneth Wetcher, as Sloan, the painter, Eric Sivertson as Eddy, the police reporter, Vic Caroli as Maple, the interior decorator, Pam Dollak as Ariel, the dancer, and Betty Nordstrum as Eloise, the model. This audio file was recorded, mixed and mastered by Michael Troop.

All music and sound effects were obtained through a special license from pond5.com and may not be copied or reproduced for any reason

This performance is presented as a historical recreation of a classic radio broadcast. All rights to the original script and characters remain with their respective copyright holders. This production is non-commercial and for educational and entertainment purposes only.

Repertoire Radio Theatre is a modest attempt to keep alive a form of storytelling that once asked very little of its audience—only that they listen.

Here, classic radio dramas are revisited, reimagined, and recorded in the spirit of the original broadcasts of the 1930s, 40s, and 50s—when a voice, a well-timed sound effect, and a bit of imagination were enough to conjure entire worlds.

These productions are created not for profit, but for the simple and enduring pleasure of the craft. They are, in many ways, a labor of affection—for the material, for the medium, and most especially for the actors who give these stories life.

If there is any guiding principle behind this little enterprise, it is this:

the performers deserve to be heard, and heard well.

Each production features a rotating company of extraordinarily generous and talented voice actors, many of whom return time and again—either out of loyalty, poor judgment, or a tolerance for my direction that continues to surprise me.

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🎙️ About the Producer

The productions are directed and assembled by Michael Troop, who records actors in a small home studio where scripts are displayed on a large screen (primarily to avoid the unmistakable sound of pages being turned at the worst possible moment).

No memorization is required. Preparation is encouraged. Patience is appreciated.

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📻 A Note on Origins

Many of these recordings were originally produced in association with The Naples Players, to whom I remain grateful for their early support of the Radio Theatre.

This current incarnation reflects a desire to continue the work with a slightly different emphasis—one that places greater visibility on the performers and the productions themselves.

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🎧 Subscribing

Subscribing is entirely free.

There are no tickets to purchase, no fundraising drives, and no hidden obligations—only the occasional invitation to sit back, listen, and allow the story to unfold.

If you enjoy what you hear, you are most welcome to return.

The curtain rises regularly.

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