The Fat Man

The Fat Man

Before he was known as The Fat Man… before his name carried weight in police precincts and backroom gambling dens alike… he was simply Brad Runyon—just another mind in a crowded city full of secrets. But Brad Runyon was never ordinary. In the years following the war, America changed. Cities grew faster than truth could keep up with them. Fortune was made overnight—and stolen even faster. And with that growth came a new kind of criminal… not the blunt instrument of yesterday, but the careful craftsman of deception. Forgers. Grifters. Confidence artists. People who didn’t need guns—only imagination. The police weren’t built for that kind of enemy. Brad Runyon was. He wasn’t a cop. Never had been. He had no badge, no uniform, no official standing. What he did have was something far more dangerous: a mind that understood how people lied… and why. He studied human nature the way a scientist studies disease—methodically, patiently, and without illusion. And yes… he had a presence. Two hundred thirty-nine pounds of it. But the weight was never a weakness—it was a warning. Runyon moved deliberately, spoke sparingly, and thought several steps ahead. People underestimated him at their own expense. They saw bulk… he saw angles. They saw a man who filled a room… he saw everything in it. The nickname came later. At first, it was whispered. A joke among small-time crooks who thought they were being clever. “There goes the Fat Man.” But the joke didn’t last. Because one by one, those same crooks found their schemes unraveled… their tricks exposed… their carefully constructed lies reduced to evidence. Runyon had a way of walking into a situation and seeing not what was presented—but what was missing. And in a world built on illusion, that made him dangerous. Very dangerous. Soon, the name stuck—not as mockery, but as reputation. “The Fat Man is on the case.” And when that phrase began to circulate, it carried a certain inevitability with it. Because Runyon didn’t chase criminals… he let them reveal themselves. He understood a simple truth: Every con is a performance. And every performance… eventually slips. By the time his cases began to reach the public—retold over the airwaves in smoky living rooms and late-night broadcasts—The Fat Man had already become something more than a man. He was a symbol. Not of brute force… but of balance. Not of speed… but of certainty. Not of justice shouted… but justice delivered—quietly, methodically, and without fail. And so, when you hear his voice… measured, dry, and just a little amused… remember: You’re not just listening to a detective. You’re listening to a man who understands that in a world full of illusion… truth is the heaviest thing there is. This Repertorie Radio Theatre production features the vocal talents of Jim Heffernan as the Fat Man, Casey Cobb as Mrs. Reynard, Danny Miller as Mr. Reynard, Debra Millstein as Salah, Judy Scribner as Angela and Kip Jones as Pouisan. 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. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit repertoireradiotheatre.substack.com [https://repertoireradiotheatre.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Canterville Ghost

Oscar Wilde’s beloved story “The Canterville Ghost”, first published in 1887, is a comic ghost tale with a surprisingly tender heart. Wilde playfully reverses the traditional haunted-house story: instead of humans being frightened by a ghost, it is the ghost who finds himself outmatched by modern people who refuse to be afraid. The story follows Sir Simon de Canterville, a ghost condemned to haunt the halls of Canterville Castle after his cowardice led to his disgrace centuries earlier. According to the ancient family curse, his restless spirit can only find peace when a descendant performs a truly brave deed in his name. This radio adaptation—originally presented on Lux Radio Theatre in 1945 and adapted by Edwin Blum—moves the story into the setting of World War II England, where American soldiers are billeted in the ancient castle. Their irreverence toward the supernatural both humiliates and befriends the weary ghost. Among them is Cuffy Williams, a young American Ranger who unexpectedly discovers he carries the Canterville birthmark, making him a descendant of the family. With the encouragement of the brave and compassionate Lady Jessica, a young girl who believes even ghosts deserve redemption, Cuffy ultimately faces danger and performs the act of courage Sir Simon has awaited for three hundred years. Blending humor, wartime heroism, and the charm of classic radio storytelling, The Canterville Ghost reminds us that courage can come from the most unlikely places—and that sometimes the bravest act is simply choosing to do the right thing despite fear. In this Repertoire Radio Theatre presentation, the story is brought to life in the grand tradition of vintage radio drama—through voice, music, and sound effects—inviting listeners to imagine the eerie halls of Canterville Castle and the redemption of its most famous resident. This Repertoire Radio Theatre production features the vocal talents of Frank Blocker, David Whalley, Vic Caroli, Cynthia Hile, Jackie Weiner, Jim Corsica , Kip Jones Gregg Birr, Robert Medeiros 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. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit repertoireradiotheatre.substack.com [https://repertoireradiotheatre.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Back Seat Driver

Back Seat Driver aired on the iconic radio series, Suspense, on March 17 1949. It was written by Sally Thorson for Jim and Marian Jordan who were the main stars of the ever popular radio series Fibber McGee and Molly which aired from 1935 to 1959. This play not only showcased the Jordan’s versatility but it also brought even more notoriety to the Suspense series. The Suspense radio series, often referred to as “Radio’s Outstanding Theater of Thrills,” ran for over 20 years. It debuted on June 17, 1942 and continued until its final episode on September 30, 1962. Over the course of its run, it aired more than 900 episodes, becoming one of the longest-running radio dramas during the Golden Age of Radio. The series was famous for its intense plots, unexpected twists, and notable guest stars, making it a key part of American radio history. This Repertoire Radio Theatre production features the vocal talents of: Janie Ballurio as Ellie and Miranda, Mitchell Frank as Matrick, Nathan Eichhorn as Mike and Michael Troop as Joe. 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. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit repertoireradiotheatre.substack.com [https://repertoireradiotheatre.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

For Richer--For Richer

Originally broadcast on December 10, 1939, For Richer—For Richer was written by True Boardman for the CBS radio program Silver Theatre, a prestigious dramatic anthology series sponsored by the International Silver Company. The episode starred Clark Gable as Chris Morgan and Mary Taylor as Peggy Turner. The Silver Theatre program was known for pairing major Hollywood stars with entertaining romantic or dramatic stories crafted specifically for radio audiences. These productions blended cinematic storytelling with the immediacy of live radio performance, supported by orchestral scoring and vivid sound effects. In this era—often called the Golden Age of Radio—millions of Americans gathered around their radios on Sunday evenings to hear productions like this one. For Richer—For Richer belongs to the tradition of the screwball romantic comedy, a genre popular in the late 1930s. Like films such as It Happened One Night or Bringing Up Baby, the story begins with a clash of personalities and a battle of wits between a cynical man and a determined woman. For Richer—For Richer reminds us that love and practicality are not always opposites—and that even the most calculating arrangements can lead to unexpected romance. This Repertoire Radio Theatre production features the vocal talents of Jim Heffernan as Chris Morgan, Pamela Austin as Peggy Turner, Jim Corsica who vocalizes the roles of Mr Turner, the police officer, the Justice of the Peace and the sea captain, and Cynthia Hile as Susan Turner . 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). This audio presentation features: “You and the Night and the Music” Music by Arthur Schwartz, lyrics by Howard Dietz. Performed by The Melachrino Strings and Orchestra (1964). Courtesy of Blue Pie Publishing USA. 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. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit repertoireradiotheatre.substack.com [https://repertoireradiotheatre.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

The Whistler-Strange Sisters

When The Strange Sisters first aired on The Whistler in early 1946, American radio audiences were already deeply familiar with the program’s trademark blend of psychological suspense, moral rot, and twist endings. What made this episode stand out wasn’t just the murder plot—it was the way the story zeroed in on a family dynamic that felt uncomfortably real. The Randall sisters—Pamela, Sally, and Kathy—are not simply characters in a thriller; they are the culmination of decades of resentment, favoritism, and emotional dependency. In classic Whistler fashion, the drama is less about external forces and more about the hidden fractures that grow inside a home until they rupture. Pamela’s domineering spirit, Kathy’s fragile insecurity, and Sally’s effortless grace make the sisters both archetypes and recognizable personalities—each one shaped, scarred, and sharpened by the pressure of living under one roof. 1940s radio thrived on moral tension, but The Strange Sisters pushes it a step further: the real danger isn’t the gun in Henry French’s dresser or the fuse pulled in the basement—it’s the corrosive jealousy that’s been simmering since the Randall girls were children. And like many Whistler stories, this tale reminds us that for some people, the past is not something you grow out of—it’s something that grows teeth. This production from The Naples Players Radio Theatre brings the story back to life with a richly cinematic soundscape and performances that honor the sinister elegance of the original broadcast. Lean in, listen closely, and—just as The Whistler intended—judge for yourself what happens when family ties become chains. This Naples Players Radio Theatre production features the vocal talents of Debera Millstein as Pamela, Kimberly Albrecht as Sally, Betty Nordstrom as Kathy and Jim Heffernan who vocalizes all the male roles. 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). “The Whistler” signature whistle introduction Excerpt from the CBS radio program The Whistler. Original broadcast courtesy of CBS Radio. Used for historical and dramatic illustration. 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. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit repertoireradiotheatre.substack.com [https://repertoireradiotheatre.substack.com?utm_medium=podcast&utm_campaign=CTA_1]