50 Greatest Old Time Radio Drama Shows

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In this episode, we delve into the dramatic adaptation of Somerset Maugham's classic novel, "Of Human Bondage," presented by the NBC University Theatre. Set in the late 19th century, the story follows the life of Philip Carey, a young man with a club foot, who navigates the complexities of love, ambition, and personal growth. The narrative explores Philip's tumultuous relationship with Mildred, a waitress who captivates him despite her indifference and eventual betrayal. As Philip grapples with his emotions and career aspirations, he encounters various characters who influence his journey, including his uncle, fellow medical student Griffiths, and the kind-hearted Nora.

Throughout the episode, the themes of obsession, personal struggle, and the search for meaning are vividly portrayed. The intermission commentary by Clifton Fadiman provides insight into Maugham's personal connection to the story, highlighting its autobiographical elements and the novel's enduring impact on literature. As Philip's story unfolds, listeners are invited to reflect on the nature of human bondage, the ties that bind us to others, and the pursuit of freedom and fulfillment. This adaptation captures the emotional depth and complexity of Maugham's work, offering a poignant exploration of love, loss, and self-discovery.

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[00:00:00] Unknown:

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[00:00:39] Unknown:

This is the NBC University Theatre   presenting the eighth in our series of dramatizations   of outstanding works in modern Anglo American fiction.   Today, with Brian Hearn and Angela Lansbury as our stars, and with Clifton Fadiman as our intermission commentator,   we present Somerset Moms   of Human Bonding.  

[00:01:15] Unknown:

Before the turn of the century,   Laxtabl Village,   England.   The vicarage   sits at the fork of De Canberra Road,   a small cottage new when Victoria first wore the crown.   The garden is neat, the hedges trimmed,   and a single tall tree towers over the house.   The door knocker is draped in black crepe.   The blinds are drawn.   Now the front gate opens, and the vicar comes up the path.   The young man who follows walks slowly and haltingly.   He drags his foot behind him in a clumsy,   rolling limp,   a sad, clubbed,   twisted foot,   clad in a misshapen boot.   The vicarage door is open now, and the two men go inside.  



[00:02:09] Unknown:

Phew. Cold.   All right, uncle? Cold cold to it. But I promised your poor aunt Louisa I would never let anyone else bury her.   Well, there'll be a hot tea soon. Yeah. Let me take your coat, uncle. Things have changed since I was a curate.   In my day, mourners were given a square,   black silk for their hats. Poor Louisa used to make the silk into dresses.   She used to say 12 funerals gave her a new dress.   Oh, oh, Philip. Yes, I got. The cigarette. Please put it out. It wouldn't be quite respectful.   Well, come into tea.   There were 24 wreaths, you know. I didn't count them. Missus Rawlinson had 32 when she died, but I expect there'll be some others in the morning.  

Well, sit down.   Tea.   Philip, you shall have the top of my egg as you did when you were a boy.  

[00:03:00] Unknown:

I used to look forward to the tops of your eggs. You did?  

[00:03:04] Unknown:

I suppose you'll spend the next few weeks with me here. That'll suit me very well. And you'll go back to Paris in September? No. No. No. But I I've decided to check it.  

[00:03:14] Unknown:

I'm giving up painting. What? I shan't go back to art school. I don't think there's much object in being a second rate painter, and I shouldn't be anything else. You surprise me, Philip.  

[00:03:23] Unknown:

When you begged me to send you to Paris, you were sure you were a genius.   I was mistaken. It seems to me that what you lack is perseverance. Please, uncle. It's been that way since you were a child.   When your poor mother died, Louisa and I took you in hoping you would eventually take holy orders.   But first, you insisted on being a chartered accountant.   And then when you tired of that, it was painting in Paris.   And now if you change your mind again, it points to I know. Irresolution,  

[00:03:49] Unknown:

incompetence, wonder foresight, and lack of determination.  

[00:03:52] Unknown:

Well, your financial matters are your own affair now. But I think you should remember your money will not last forever.   And with your unlucky  

[00:04:00] Unknown:

deformity, it will not be exactly easy to make a living. Yes. Yes, uncle. I found that when people are particularly angry with me, they always manage to mention my foot.  

[00:04:10] Unknown:

Well, at any rate, you must agree I was right when I objected to your junket to Paris. Oh, I don't know. I dare say one has to make his own mistakes,  

[00:04:17] Unknown:

and it wasn't wasted time, you know. It wasn't?   Well, I learned to look at hands and houses and trees against the sky,   and I learned that shadows are not black, but colored. Nonsense.  

[00:04:28] Unknown:

The most suitable thing you could do now is to follow your father's profession,  

[00:04:32] Unknown:

medicine. Oddly enough, that's what I intend.   I've already written to Saint Luke's in London, and they inform me that I qualify for the medical school. I start in September, uncle.   I shall be studying anatomy with a a scalpel in place of a brush.   September.  

[00:05:06] Unknown:

I say there. Are you a new man? What? Oh, yes. My name's Griffiths. Harry Griffiths. Oh, I'm Philip Carey.   Phew. Oh, you'll soon get used to that smell. The whole hospital picks it up. I believe you're marked down with me for the same body. I'm afraid I don't know much about this. Don't worry. I do.   Well,   might as well get started.   I'm going in for surgery.   You?  

[00:05:28] Unknown:

Just a general course.   I see. You're rather a dab at this.  

[00:05:34] Unknown:

I've done a good deal   of dissecting before.   Why say don't cut that artery? It doesn't seem to be in the in the normal place. I never are. That's why it's called normal.   Well,   when we're   when we're through with this, how about team?  

[00:05:50] Unknown:

Well,  

[00:05:51] Unknown:

don't let the laboratory smell get you. You'll get used to it.   I never let it bother me.   Tea then and perhaps a muffin. Oh, mind the veins.  

[00:06:17] Unknown:

Here you are, sir.  

[00:06:18] Unknown:

Two teas and muffins. Thank you. Cream curry? No. Thank you. Got any friends in London? No. I not even seen the lodgings. Well, there's a room to let below me. It's right across from the hospital. I dare say you could get that. Well, I shall certainly inquire.   You'll be, of course, pretty busy for the first three months. That's the biology exam, you know. But after that, there's lots to do in London. Oh, I'm afraid I'm not the social type, but the best I can do is the gallery at a music hall. Music hall?   There's bigger game than that. Yeah. Now take that girl, the waitress. She's, somewhat like. Which one?  



[00:06:51] Unknown:

Oh.   Oh, I wouldn't look at her in Paris. Too thin. She looks anemic. Sort of sort of unhealthy. Oh, but what a ripping face. Let's get her over here. What? Seems to be quite busy with that German looking chap, talking 16 to the dozen. Oh, I don't know. All I'd want is a lead. Her name's Mildred, I asked. Mildred. What an odious name. Why? I like it. Oh, it's so pretentious. I say, Carrie, here she comes. Give us a hand, will you? Well, but I've never been able to talk to her. Do be a good chap. Well, I I don't know. Go on, will you? Just a lead. Will there be anything else, gentlemen?   We were waiting for you anxiously.  

Mildred?  

[00:07:26] Unknown:

Aye?  

[00:07:27] Unknown:

I don't know what you mean. We can hardly wait for you to finish with the nobleman with the sandy mustaches.   Right, Griffith?  

[00:07:34] Unknown:

Some people would do better to mind their own business. I've got nothing to say to customers like you, and I don't want them to say nothing to me.   If that's all, I'll get the bill.  

[00:07:44] Unknown:

There's one in the eye for you, Carrie. The old mannered baggage. You did get a backup, you know. I'm quite indifferent to the attitude of her vertebrae. Alright, old man. Calm down. Did you notice her skin is unhealthy,  

[00:07:55] Unknown:

greenish? Here now, Kerry. Come off it. She's only a waitress.  

[00:08:12] Unknown:

Yes, sir. What will it be? Tea, please. Tea. Right, sir.   Something wrong?  

[00:08:19] Unknown:

You're steering. Oh, oh, am I? Sorry.  

[00:08:22] Unknown:

It's impolite,   you know.   Oh, it's you again.  

[00:08:38] Unknown:

Still busy with your German friend?  

[00:08:41] Unknown:

Look here now. I talk to who I wish. It's no concern of yours. You know?   Tea?  

[00:08:46] Unknown:

Yes.   Tea.  

[00:08:56] Unknown:

You've been there again, Kerry?   Where? The tea shop. She got under your skin. What? That waitress?  

[00:09:03] Unknown:

Nonsense?   I can't understand it. I I wish to have him say she'd say something really cheeky so that I could report her and get her sacked. She's so unspeakably   vulgar.   Vulgar and yet,   oh, well. At any rate, I shan't   go  

[00:09:24] Unknown:

there  

[00:09:27] Unknown:

again.  

[00:09:30] Unknown:

Oh, it's you.   I thought you weren't coming.   Busy cutting up people.  

[00:09:36] Unknown:

Not as bad as that.  

[00:09:38] Unknown:

You're a student, aren't you? Yes.   Oh.   What's that paper?  

[00:09:45] Unknown:

I didn't know you could draw. Oh, I was an art student for two years.  

[00:09:49] Unknown:

Is it meant to be me? Yes.   Where's that young fellow that used to come in with you? Betsy, you're remembering him. He was a nice looking fellow. I,  

[00:10:01] Unknown:

I say, I I wonder if you'd dine with me one night and come to the new musical comedy. I'll get a couple of tickets. Betsy, you're asking me to the theater.   Well, do you want to go? I don't mind.  

[00:10:26] Unknown:

That you, Kerry. Griffiths? Oh, you don't mind my barging in, Kerry? The blasted grates caved in up in my room, cold enough to freeze the ink. Oh, it's alright.   Oh,   something wrong?   You look like a thunder cloud. Where have you been? The theater.  

[00:10:43] Unknown:

Griffiths, I   I can't understand it. What? She she's not pretty. Her her mouth is thin, ugly. She she's cheap and common,   but she's so odiously   genteel. Her little finger sticking straight out when she drinks her. Her skin is sickly and greenish with a pallor like those those blasted specimens on the slab at the hospital. And yet   and yet, heaven help me, I Carrie. I'm I'm not happy with her, but I I can't stand being away. I I lie awake at night thinking of that thin, awkward body and those pale, bloodless lips, and   And heaven help me. I I want to kiss them over and over. I say, carry on, Jack, aren't you well? You haven't been in a lecture for over a week. The bio exam's coming up, you know. I don't know. I I can't seem to get at the books. I I keep thinking I've heard. It   cuts clear through   me. Why, right now right now, Griffiths, I'm   I'm making for her. I I I hate her. She she revolts me. She she nauseates me. And yet,   Griffiths, I   I love  

[00:11:54] Unknown:

her.  

[00:12:04] Unknown:

In early today,   The regular, I suppose.  

[00:12:08] Unknown:

Why don't you sit down? Nobody's wanting you just now. I don't mind if I do.   Where's your German friend with a moustache? I haven't seen him lately. Oh, he's gone back to Birmingham.  

[00:12:18] Unknown:

He only he only comes up to London every now and again.   Is he in love with you? I don't know what it's got to do with you if he is.  

[00:12:26] Unknown:

You don't set much store on me, do you? Why should I? I,   Mildred,   you are going to the theater with me tonight. You promised last week. Oh, I'm awfully sorry. I shan't be able to come after all. Why?  

[00:12:39] Unknown:

Don't look so stern about it.   I,   my aunt was taken ill last night.  

[00:12:45] Unknown:

Oh, well, I'll see you home then. You can't see me home.  

[00:12:48] Unknown:

I've,   I've made other arrangements. I dare say. I saw you with Miller last night. What? You dirty little cat. Were you spying on me?   I thought she was a gentleman. Did you think a gentleman would take any interest in you? Here now. Miller's taken you out this evening, isn't he? Well, I'd rather have him than you tag in after. Well, now perhaps you'd mind your own business in the future.  

[00:13:09] Unknown:

I said, don't be beastly with me, Mildred.   You know, I'm awfully fond of you.   I can't go on like this, Mildred.   I can't study. I I failed the first board examination. I keep thinking of you. Oh, you've got to come with me this evening.  

[00:13:24] Unknown:

You're a funny fella.  

[00:13:26] Unknown:

I can't make you out.  

[00:13:29] Unknown:

It's very simple.   I'm such a blasted fool that I   I love you with all my heart, and I and I know you don't care twopence for me. Oh,  

[00:13:40] Unknown:

well, if you're a gentleman in every sense of the word, you'll beg my pardon.   What? That was a very nasty trick spying on me.   Well,   you haven't begged my pardon yet.  

[00:13:55] Unknown:

I'm very sorry, Mildred.   I beg your pardon.  

[00:14:08] Unknown:

I   say, Kerry.   Kerry, stage is that way enough? Hey. What? You keep staring up at the gallery. In a music hall, one generally looks at the stage. She's up there now with Miller.  

[00:14:21] Unknown:

See by the second column.   She went tonight with him. Oh,   come on, Griffiths. Let's go home.  

[00:14:42] Unknown:

Oh, boy.   There. You stuck yourself, didn't you? What the devil? That comes a put in your arm where it's got no business to be. That pin always catches them when they try putting an arm around my waist. Mildred,  

[00:14:53] Unknown:

I can't go on this way. I I've got to know. I know. We're off again. Always asking me if I love you over and over and over. Well, I can't help it. Well, if you really love me, you'd ask me to marry you. I shan't be earning a penny for six years till I have qualified as a doctor.  

[00:15:08] Unknown:

You've got some money, haven't you? £1,400.  

[00:15:11] Unknown:

But I've got to keep myself on that.   But they say two can live as cheap as That would be £4  

[00:15:18] Unknown:

a week. 3. I've got my fees to pay. Well, you needn't worry because I wouldn't marry you if you went down on your bended knees to me. Well, of all the bloody cheap I wish you wouldn't use bad language when you speak to me, Philip. You know I don't like it. If I had an ounce of sense, I'd never see you again. If you only knew how I despise myself for loving you. Well, that's fine, isn't it? Because you see, I'm going to get married.   Are you? I'm 24, and it's time I settle down.   You might congratulate me.  

[00:15:46] Unknown:

I might.   Well, who are you to marry?  

[00:15:50] Unknown:

Miller.   He makes seven pans a week now, and he's got prospects. I know. You were bound to accept the highest bidder.  

[00:16:12] Unknown:

Well,   when does it take place? Saturday next.  

[00:16:16] Unknown:

I've already given notice at the tea shop.  

[00:16:19] Unknown:

I'm tired. I'm going home to bed now. But, Philip Driver, stop here, and then take the young lady to Victoria Station. But why don't you come up with me? It's not proper to leave. You'll make a full stop now, Mildred. I don't see why I should go on making myself unhappy.   Goodbye. But, Philip What? Oh, don't worry. I've paid for the cab.   Kerry, come on upstairs with you. I've got someone to meet you here. Oh, I can't be bothered. Oh, what are you up to? Studying. I've got six months work to make up. Oh, be a good chap. Grievous and dash off. What's come over you? I'm free, Grievous. Free. She's off to be married, and I'm free.   That girl. But, you know, I've even tried to think of her, and I can't.  



[00:17:10] Unknown:

Now do be a good chap and be off. Well, I've got somebody upstairs for you to meet. I promised. Well, I I Oh, come along, Kerry. Those books will keep. Anyway, it's time for tea, and I want you to meet Nora.  

[00:17:33] Unknown:

Well, that's silly, Mr. Carey. Oh, no. It isn't. You'd make an admirable painting. Your face has character, you know. You mean wrinkles. That's what I get for earning a living instead of being supported as a lady artist. What are you doing now, Nora? Writing those penny novelettes. They pay £15 apiece and it's just the same thing over and over with the names changed.   Then every once and again, I get a walk on rolling some theatrical spectacle. I manage. I think you do wonderfully. Oh, so long as I have the rent and a pound or 2 for food, I don't worry.   Well, gentlemen,   are you taking me out to dine?  

I don't think I can. Well, nonsense, you must come along, mister Carey, and you shall see me home. It's my birthday today and I insist on having my own way.  

[00:18:28] Unknown:

And I was dreadfully in love with her.   You know, I I can't imagine why I've told you the whole story. Well, I think you're well out of it.   Poor thing. You must have had a rotten time. I I'm so grateful to you for being so nice to me.   I like you so much.  

[00:18:45] Unknown:

Don't be idiotic.  

[00:18:46] Unknown:

I see.   May I  

[00:18:50] Unknown:

Why did you do that?  

[00:18:52] Unknown:

Because it's so so comfortable to kiss you.  

[00:18:56] Unknown:

You know, it's awfully silly of you to behave like this. I've only just met you. We could be such jolly friends. Well, if you really want to appeal to my better nature, you'll do well not to stroke my cheek while you're doing it.   It's very wrong of me, isn't it?  

[00:19:11] Unknown:

Nora,   you're not fond of me, are you?  

[00:19:15] Unknown:

You ask rather dull questions for a clever boy. Oh.  

[00:19:19] Unknown:

Oh, it it never struck me that you could be.   Oh, Nora.   Well, I'm desperate.   Why? I'm so surprised. And pleased. Delighted and and so proud and so happy and   and so grateful.   Oh, Nora.   It's like waking out of a a horrible, degrading dream. I   I'm so terribly  

[00:19:46] Unknown:

happy.  

[00:19:58] Unknown:

Now, Philip, don't. You must get back to your books. Oh, I can't work anymore now. You've got to pass the next examination. We've failed it once already. Ah, but that was before you.   Perhaps you'd better go down to your uncle's at to study. Why? Are you tired of me? No. Silly.   Because you've been working hard and you look utterly washed out. You want some fresh air and a rest. You know, I wouldn't believe anyone else who said that.  

[00:20:23] Unknown:

Nora, I wonder what you see in me. Will you give me a good character with my month's notice? I'll say that you're thoughtful and kind. That's all nonsense, dear.  

[00:20:31] Unknown:

But I will tell you one thing. I'm one of the few people I've ever met who are able to learn from experience.  

[00:20:48] Unknown:

Well, that's all there was to it, Kerry. MacAllister tipped me off. I bought the stock, then I sold it when he said to, and there I was. 50 guineas to the good. Wish I had known, Harry. I'm running rather low, and I'm frankly keen on raising a few pounds myself.   Well, here we are. Oh, you're stopping at the rooms? Yeah. I'm expecting Nora for lunch. Well, I shall have to be off to the hospital. Goodbye, Carrie. See you for supper.  

[00:21:25] Unknown:

Philip.  

[00:21:42] Unknown:

Miller ran off, I  

[00:21:46] Unknown:

well, you better sit down. I wish I've married you when you asked me. Tell me. What's happened? Well, last Monday, we keep up to Birmingham, and I didn't hear from him for a week. I wrote them. And this morning, I got a solicitor's letter saying I had no legal claim on him. Oh, but that's absurd. A man gone and cleaned his wife that way. He was frightened because I told him a baby was coming. He said it was my fault. I found out precious Quiggy wasn't a gentleman. I wouldn't go back to him now, not if he was coming to ask me on his fended knees. He's got to provide for you. You ought to see a solicitor.  

[00:22:17] Unknown:

I can let you have some money now.  

[00:22:19] Unknown:

Oh, you are good to me, Philip.   Are you fond of me still?  

[00:22:26] Unknown:

I love you, Mildred.   I suppose I always did.  

[00:22:30] Unknown:

Philip,   you're a gentleman in every sense of the word.   In every sense of the word.  

[00:22:52] Unknown:

You're quiet today, Philip. Something wrong?   Say something nice to me. What shall I say?   Might by an effort of the imagination say that you, rather like me. Nora, I,  

[00:23:04] Unknown:

I shan't be able to be with you tomorrow. But I've asked the Gordons to lunch. They'll be disappointed.   Where will you be? I I don't like to be forced to account for all my movements. Really? No. I I'm sorry, Nora. You're your own master. I suppose I don't want you to do anything you don't want to.   Maybe,   Nora,   maybe we'd better leave it at that.  

[00:23:25] Unknown:

What?  

[00:23:26] Unknown:

The whole thing's over.  

[00:23:31] Unknown:

You mean you don't love me anymore? I'm afraid so.  

[00:23:35] Unknown:

I I can't help it, really.   Oh, I I'm awfully sorry to hurt you. It it's not my fault that I don't love you. I know. I can't help myself, really.   Mildred's come back.  

[00:23:51] Unknown:

Oh, you call me a cab. I I don't feel I can walk. I'll drive back with you if you like.  

[00:23:57] Unknown:

I hope you'll forgive me, Nora.  

[00:23:59] Unknown:

Oh, fellow, you you're quite worried about me. You mustn't bother. Oh, Nora. I don't blame you. I shall get over it.  

[00:24:20] Unknown:

Mildred.   Another £5.  

[00:24:22] Unknown:

I don't really know where the money goes to. It just slips through my fingers like water. And I had to make arrangements for someone to look after the baby for 7 and sixpence a week. Do you mean farm the child out? It's all very fun to look shot, but it's jolly difficult for a girl to earn a living by herself when she's got a baby tag in after.  

[00:24:39] Unknown:

I'm glad it's over, and I don't mean to let the little wretch tie me down.  

[00:24:43] Unknown:

Perhaps I can beat him down to six and six Oh, for heaven's sakes. Don't haggle over the price. I I'd rather pay half a guinea a week than run the risk of the kid being starved or beaten.  

[00:24:52] Unknown:

You are a funny old thing, Philip.  

[00:24:55] Unknown:

I know.  

[00:24:56] Unknown:

Well,   are we going somewhere tonight?   Tonight? I've been stuck in that old lodge in ours just about long enough. I wanna see people, have a good time. Oh, I thought we might be alone together. Ah, that's so dull.   Do let's have a dinner party, Philip.   Is that friend of yours still about?   The student? Griffiths?  

[00:25:17] Unknown:

I suppose he would amuse you.   Well, alright, Mildred. I'll get tickets for a musical comedy. Oh, you are good to me, aren't you, Phil?  

[00:25:26] Unknown:

You are a funny fellow.   That's  

[00:25:41] Unknown:

the funniest thing, Phil. Isn't that the funniest thing? Mister Griffiths, you're a real amateur. Why? You must call me Harry. After all, I've never heard Philip call you anything with Mildred.   I say, Carrie. Is that alright? No. Of course.  

[00:25:53] Unknown:

Hadn't we better be going, Mildred. So soon? I've no such time and ages.  

[00:25:58] Unknown:

It's early, isn't it, Harry? Well, I No. I think we'd better go. It's a rotten show anyway. Can't think what you both see in it.  

[00:26:16] Unknown:

What the devil's been eating you tonight, Carrie?  

[00:26:19] Unknown:

Are you in love with Mildred?  

[00:26:21] Unknown:

I?  

[00:26:22] Unknown:

Is that it? Of course not. It doesn't matter to you, Harry. You you've got so many women. Don't take it away from me. It means   my whole life I  

[00:26:31] Unknown:

I've been so awfully wretched. My dear boy. If I'd known you were going to take it like that, I'd have been more careful.   Is that true? I don't care twopence for our old boy. I give you my word of honor.  

[00:26:40] Unknown:

Oh, Harry, I I feel so miserable, so so confounded and degraded, but   she's all I've got her, I've got to   hold on to her.   Well, you were flirting quite with Griffiths last night. Did you have a good time?  

[00:27:07] Unknown:

I adore him, Philip. I'm quite in love with him.  

[00:27:12] Unknown:

Well, I'm glad to know that he's not in love with you.  

[00:27:15] Unknown:

How do you know?  

[00:27:17] Unknown:

I asked him.  

[00:27:18] Unknown:

How?   Then would you like to read a letter I received from him this morning?  

[00:27:24] Unknown:

What?  

[00:27:25] Unknown:

He's asked me to go off with him.  

[00:27:28] Unknown:

No.   I rather love him, I think. I can't help him. No, Mildred. No. You can't. I've waited so. I I've paid for everything. I I'm paying for the keep of your baby. I've paid for every stitch that you've got on now. If you was a gentleman, you wouldn't keep throwing it out. Oh, if I heaven's sake, shut up. If I were a gentleman, I wouldn't waste my time on a vulgar drab like you. What?  

[00:27:46] Unknown:

Listen here. I never liked you from the beginning. You forced yourself on me. I always hated it when you kissed me.  

[00:27:53] Unknown:

I'm going off with Griffiths here. I wouldn't let you touch me now, not if I was stuck. Well, you will be. Griffiths owes me £7, and he's just pawned his microphone. I don't care. It's It's hard, isn't it?   Hence, he ain't nobody wanting to be in a love.   Oh.   Oh, here.   Here.   I'll lend you £10.  

[00:28:13] Unknown:

Oh, Phil.  

[00:28:15] Unknown:

Take it. Take it and go with Griffith. You are a gentleman  

[00:28:19] Unknown:

in every sense of the word, aren't you? Gentlemen.  

[00:28:23] Unknown:

Go on, Mildred. Go.   Go on. Get out.   I'll be here if you if you want me when you   come back.  

[00:28:54] Unknown:

From Hollywood, the NBC University Theatre is presenting Brian Ahearn and Angela Lansbury in our adaptation of the Somerset Maugham novel of 'Human Bondage',   the eighth in our series of dramatizations   of outstanding works by modern British and American authors.   Information on how to obtain free materials on the authors and books presented in this series will be given at the close of the program.   Now here to discuss the Somerset Maugham work is our intermission commentator,   the distinguished author, lecturer, and critic, Mr. Clifton Fetterman,   speaking to you from New York.  



[00:29:35] Unknown:

Of human bondage occupies a peculiar position in Somerset Maugham's career   and also in modern literature in general.   It appeared quite a long time ago in 1915,   and although Maugham at that time had already acquired a certain reputation,   this novel, now considered a classic,   fell flat.   Its virtues, the virtues of truth, sincerity, and gravity,   seem perfectly apparent to us now,   but it would seem that they were not so apparent then.   The book was more or less of a failure.   Nevertheless,   it refused to die.   It enjoyed a kind of underground reputation for some years, was rediscovered several times in the twenties, and at last slowly worked its way into a kind of contemporary immortality.   Its position in Morme's own career is equally curious. He's written perhaps, oh, 40 or so books, but no one of them, even cakes and ale,   is comparable to of human bondage.  

Many are interesting and skillful,   but no one of them has the tremendous emotional drive, the heartfelt   sincerity, the broad and sober humanity of this tale of the young man's awakening to the complexity of the world   and to the agony of love.   Of human bondage was the perfect, almost accidental   product of certain special pressures in Maugham's own personal life.   Pressures that were never again repeated.   It's quite largely autobiographical.   Like Philip Carey,   Malm himself at first studied to be a doctor, though he never actually practiced.   And like Philip, he spent some years in Paris, amid precisely the bohemian society so graphically portrayed in the novel.  

And like Philip, Maugham himself suffered from a physical disability.   In his youth and young manhood,   he was afflicted with a distressing stammer,   just as Philip had to overcome the pain and difficulty   of a club foot.   This novel bears in solution Morme's own personality before it gelled and settled into the man of the world figure with which his later work has familiarized us. This novel bears in solution Morme's own personality   before it gelled and settled into the man of the world figure with which his later work has familiarized us.   It has a sincerity, a passion that was never to reappear,   just as it contains many crudities that the older morn has softened and refined.  

As a study of a superior man's obsession for an inferior woman, it's probably unsurpassed   in the English language.   Mildred   is one of the great female characters in the history of the novel,   like Emma Bovary   or Becky Sharp.   The relation between her and poor Philip is exposed with such pity and penetration   as to enable this novel to bear with dignity   the weight of its superb tragic title.   This is quite truly   a narrative of human bondage,   of the bondage that all of us feel in one way or another.   Bondage to another human being,   to a false idea,   or merely to the sad, insoluble,   puzzling tangle   of modern life itself.  

Thank you, mister Fadiman.   Our dramatization of Somerset Maugham's Of Human Bondage, starring Brian O'Hearn and Angela Lansbury,   continues from Hollywood after a brief pause for station identification.  

[00:33:34] Unknown:

The cold, wet London months went by.   Philip gave his landlady notice and moved his lodgings to a cheaper district.   He tried to drive his mind faster.   To make up the long months of studying he'd ignored, and then, when spring lifted the cold siege of the winter months,   he made his way up the familiar stairs to the gathered flat where he had laughed and been happy with Nora.  

[00:34:00] Unknown:

Philip.   Philip, come in. Hello, Nora.  

[00:34:04] Unknown:

Sit down. I've just poured tea. Do have a cup. Oh, thank you.  

[00:34:10] Unknown:

Oh, it's awfully jolly to be sitting in this room again. You don't know how I've missed it. Why on earth didn't you come before?   I was afraid to. You needn't have been. I treated you awfully badly. I I'm dreadfully ashamed of myself.   Mildred's gone. She's gone off with Griffiths now. I haven't heard at all. Oh.   I've thought so much of your kindness.   I was happy with you, nor I. I should have stuck with you. I   I didn't know how how wonderful you were.   I've been such a fool.  

[00:34:41] Unknown:

I'm afraid you've had a rotten time.   I'm dreadfully sorry.   Philip, I Yes?   I'm engaged to be married.   Charlie Kingsford, the journalist, you know.  

[00:34:55] Unknown:

Oh.   Wish I hadn't made such a fool of myself. I'm sorry.  

[00:35:02] Unknown:

You were never really in love with me.  

[00:35:05] Unknown:

It's not very pleasant, being in love.   Well, it's a good joke on me, you know.   Very good. Good luck. But it's not very comfortable to have the gift of being amused at one's own absurdity.   Well,   goodbye, Nora.  

[00:35:33] Unknown:

What's in there? Kerry. Kerry.  

[00:35:36] Unknown:

There's no sense you cutting me, you know? Oh, please. I've been looking for you   all over the hospital.   I did want to be friends again. Oh, let go my arm, Griffith. I wish to heaven I'd never seen that woman. Do you do you know where Mildred is now? Thank heaven no. If I'd known she was going to be so devilishly hard to get rid of, I wouldn't have bothered in the first place. I say, Kerry, don't say Griffiths. I don't wanna talk to you, and I don't see why I should. But I I say I want it on the ward now. Now let me alone.  

[00:36:11] Unknown:

Get those prehensile,   pre Adamite claws off me, you Sneez now.  

[00:36:20] Unknown:

Hear hear. What's all the noise? Oh, doctor.  

[00:36:23] Unknown:

This here patient's cutting up real fancy. Begone, Mephisto's  

[00:36:27] Unknown:

daughter. It's alright. I'll take care of it.   Now,  

[00:36:30] Unknown:

creator. What's wrong? That foul faced fiend was about to confiscate my book.  

[00:36:36] Unknown:

Well, let's see your chart.   Thorpe Ethelney.  

[00:36:41] Unknown:

Journalist   of sorts. What sorts? Advertisements for linen Sedley, linen drapers. Oh, that's an odd name, Athelney.   Told Yorkshire. We used to be quite an estate generations back, but the mighty are fallen.   Fast women   and slow horses. Rather surprised to see you in the ward? No. I mean No. My principle is to profit by every benefit society provides.   I have no false shame. I come to the hospital ward to be patched up, and I send my children to board school. Do you really? And a capital education they get too.   Much better than I got at Eton.  

I've got nine, you know.   Just come and see them when I get home again. I've taken offense to you. You will come. Well, come. Well, now it's settled. We should expect you Sunday week.   There you are, mister Carey. Had that table brought all the way from Spain.   He took a man's salary, but it was worth it. It's Cheekwood. You're exceedingly handsome. Indeed.   I believe in living the old ways. It is my theory that people in those days got more  

[00:37:50] Unknown:

of Mother says you ought to stop talking. Dinner's ready, and I'm to bring it in when you sit down. Yeah. Come and shake hands with mister Carey.   Isn't she enormous? She's my eldest. Oh, come on, father. Sit down at the table. Well, won't we wait for missus Ethelenny?  

[00:38:05] Unknown:

I always have meals by myself.   I don't think women ought to sit at table with men. It puts ideas in their heads, and women are never at ease with themselves when they have ideas.   Now then, what's first, Sally? The Yorkshire pudding, father.   And you've never tasted anything like it. You see, it's an advantage I have. My wife isn't a lady, which guarantees the cooking.   No. A jug of beer now, Sally, to top off three feet. Oh, well, I'll have to run out for it, father.   Let's see. I have six men here somewhere.   Tell me, Carrie, did you ever see such a handsome, strapping girl?  

It'll be a lucky swain who gets you, Sally.   I shudder to think what will happen when she puts her hair up, ain't it? Do stop talking, father, or the dinner will get curd. Right you are.   Roast beef, mister Carey?   Never marry a lady, my boy.   Roast beef in Yorkshire pudding for Sunday dinner. That's what I've told Sally she's to do when she's married. Right? Yes, father.  

[00:39:05] Unknown:

You call when you're ready for cheese.  

[00:39:17] Unknown:

Well, Kerry,  

[00:39:18] Unknown:

it's been a jolly evening. I am afraid I'm coming to see you too often. Nonsense.   You're a dull widow. Oh, but every Sunday.  

[00:39:26] Unknown:

Well, I got to leave you now. Next Sunday. Hey, Philip? Well, certainly. I should love to. Remember then, come early. The children seem to like it immensely. Goodbye now.   Mind your way in the fog. Goodbye.  

[00:39:43] Unknown:

Go on. Get about your business. Fear now. Go on now. Alright. If you're meant to be nasty.  

[00:39:49] Unknown:

Good lord.   What? Mildred.   That's sister. Mildred.   Oh, this is awful.   Is there anywhere we can go and talk? I don't wanna talk. Leave me alone.   I I've got a couple of sovereigns if you're that hard up. I don't know what you mean.  

[00:40:05] Unknown:

I'm just on my way home to my lodgings.  

[00:40:08] Unknown:

I was was gonna miss a girl. For heaven's sake. Don't lie  

[00:40:12] Unknown:

now. Come on. Come on. There's a bobby coming. We've got to move on.   Mildred,  

[00:40:19] Unknown:

it's awful. You don't think I like living this way.   Anyway, I I should think you'd be pleased.   Where's the baby? I've got her with me in London. I don't have the money to keep her on at Brighton. Wouldn't they take you back at the shop? I walked my legs off looking for work. Why didn't you write to me? I didn't like to. Not after what happened.   Anyway, I thought you'd just say I've got what I deserved.  

[00:40:41] Unknown:

You don't know me very well, do you? Even now.  

[00:40:45] Unknown:

You mean,   you still care for me, Philip?  

[00:40:49] Unknown:

No. I I'm over it. I'm sorry for you now.  

[00:40:53] Unknown:

Oh, you are a gentleman in every sense of the word. You're the only one I've ever met.   I hate to ask in you, Philip, but  

[00:41:02] Unknown:

can you spare me anything? I've only got £2 on me. My money's almost gone, Mildred. I'll pay you back.   What will you do now?  

[00:41:11] Unknown:

I wish I was dead.  

[00:41:13] Unknown:

Look here. If you really want to get away from it, I've got an extra room you could clean up for me and cook. I don't suppose the baby eats much.   Do you mean to say you take me back after all this I don't want you to mistake me. I'm just giving you a room in exchange for your cleaning up. Do you understand?   Oh, Philip. You are so good to me. Come along. Now it's late, and I've gotta be up early in the morning.   More meat.   You're very silent tonight, Mildred.  

[00:41:51] Unknown:

I'm paid to cook and clean. I didn't know I was expected to talk as well. Devil's wrong now. You haven't been nice to me all week.  

[00:41:58] Unknown:

Mildred, I thought we had that settled. I'm over that. I don't love you anymore. Well, I'm not the one to go down on my ends and knees. What do you want?   You're not in love with me.  

[00:42:09] Unknown:

Me?  

[00:42:10] Unknown:

Not likely. And you can't say you're of a passionate nature.  

[00:42:13] Unknown:

So what in heaven's name is bothering you? It's so humiliating. Oh, for heaven's sake, Mildred. I might be poisonous. Let's not have a seat. You asked me to marry you once. Oh, please, Mildred. Why are you so worried to me, Phil? It isn't right. I do love you, Phil. Really.   I wanna make up for all the harm I did.   I can't go on like this. It's not in human nature.  

[00:42:33] Unknown:

I loved you too much, Mildred. I I wore the Passionata.   I can't look at you now without thinking of Miller and Griffiths and Philip,  

[00:42:43] Unknown:

don't be such an old silly. Mildred. It's just like old times, isn't it, Philip? Isn't it? Let go. Let go. You you you disgust me. Me?   I disgust you,   you loathsome,   foul, dirty, nasty. I've never cared for you. Not once I was making a fool of you always. You bored me. You bored me. Mildred.   I would never let you touch me only for the money. It made me sick when you kissed me. You laughed at me. Griffiths and me, we laughed at you. We laughed at you because you were such a mug. A mug. A mug. You you you cripple.  

[00:43:25] Unknown:

I say, Kerry, don't go off now. Well, I suppose there's no reason to, Griffiths. I've been looking for you. Do you remember that flutter you had with my stockbroker, pal? Of course. Well?   Well,   the fact is,   I I mean, what were the the boys holding out so long?   Well, you see,  

[00:43:44] Unknown:

it seems that You mean I'm wiped out.  

[00:43:47] Unknown:

McCallister asked if you could put up some more security.  

[00:43:52] Unknown:

My friend, I've just pawned my other suit, and I'm to be tossed out of my lodgings on Saturday week. You mean you're stony?   How are you going at the medical school? I shan't. I'm on my way now to look for work. There's only one thing wrong. Yes? There isn't  

[00:44:09] Unknown:

any.  

[00:44:19] Unknown:

Yeah. Now now what's this? What? What? Oh. Now now you can't sleep in the embankment. Up now. Alright.   Alright. I I'm going. That's a good chap. Now you move on, see, and stay moved on. I don't want no vagrancy in my beat. But I I No more nonsense now. Move on.  

[00:44:45] Unknown:

Hello?  

[00:44:46] Unknown:

Philip,   where have you been? I,  

[00:44:50] Unknown:

I've been away. You have,  

[00:44:52] Unknown:

Sally, set the kettle on. Philip's here. Now come inside. Oh, mister Carey. We've missed all these Sundays.   Oh. Sally, we'll have dinner immediately.  

[00:45:04] Unknown:

I'm exceedingly hungry. Oh, yes, father. Won't you have an egg and a glass of milk while you're waiting, mister Carey? No. No. I I'm alright. Certainly you are. Here. Sit down.  

[00:45:16] Unknown:

What's happened since I saw you last, Sally? Nothing that I know of. Nothing?  

[00:45:22] Unknown:

Van Hesse taunts me with the fact that a gentleman who sells gents' colors has made her an offer of marriage.  

[00:45:30] Unknown:

And have you  

[00:45:31] Unknown:

accepted him, Sally? Oh, you should know farther better than that. There is no word of truth in it.   Now sit down, both of you. I'll have dinner out in a moment.  

[00:45:44] Unknown:

Smoke, have a Japanese sticker.  

[00:45:47] Unknown:

I I don't think I'd better.  

[00:45:49] Unknown:

I see here, Philip.   I wrote you a letter last week, and I was around to your rooms Wednesday.   Where have you been sleeping all this week?   Nowhere. But why didn't you come here?   We've been just as broke in our day. Only we had babies look after.  

[00:46:04] Unknown:

Seems ridiculous, but   I believe I'm going to cry. Nonsense.  

[00:46:09] Unknown:

I, I believe there's a chance of you getting some work at my shop. We're advertising for a shop walker. Six bob a week with food and lodging.  

[00:46:17] Unknown:

Here you are, father. Roast beef and pudding. Capital.  

[00:46:20] Unknown:

Sally,  

[00:46:21] Unknown:

mister Carey's coming to live with us. Oh, that's nice. I'll go and get the spare bed ready.  

[00:46:48] Unknown:

A gentleman's collar, sir, the second to the left. Yes, madam. Ladies bonnets, first right. The sheets and cases, they'll be on the Third Floor front, please.   Curtains, madam, third turning to the left.   And you're to be promoted, Philip? No more money, though. Never fear. The manager found out I was an art student once, and he sent me to designing the custom clothes.  

[00:47:16] Unknown:

A lowering of the divine metier of Giotto and El Greco, but will serve.   Oh. Something wrong? There's a letter for you. The boy brought it around from the hospital. Oh, thank you.  

[00:47:31] Unknown:

Nothing wrong, I trust.  

[00:47:33] Unknown:

I I still have to make a call. I wish to heaven that letter hadn't come.  

[00:47:51] Unknown:

Who is it? Philip.  

[00:47:56] Unknown:

Oh, I suppose you were surprised away from me.  

[00:48:01] Unknown:

What do you want? A doctor. Then I'm no use to you. I'm no longer at the hospital. How's that? I had to give it up a year and a half ago. Couldn't afford to go on with my training. Oh,  

[00:48:11] Unknown:

you you not forgot your doctoring?  

[00:48:13] Unknown:

No. Not entirely.  

[00:48:15] Unknown:

Because that's why I wanted to see you, Philip.  

[00:48:17] Unknown:

You're ill?  

[00:48:18] Unknown:

Philip,   you will look at me.  

[00:48:21] Unknown:

If you wish.  

[00:48:22] Unknown:

Please, Philip. I'm   I'm frightened.   What are you complaining of? Well, it's a rash. I've broken out. I can't get rid of it. Philip, I'm afraid I couldn't stand going to the hospital.   You were the only one I could turn to, Philip. This rash is terrible. Oh, for hidden sake, Mildred. Don't get hysterical.  

[00:48:40] Unknown:

Now let's have a look at you. Can you tell, though?  

[00:48:43] Unknown:

Is it  

[00:48:49] Unknown:

let me look at your throat.   Wider.   Mildred,   I'm afraid you're very ill.   Very ill indeed.   Fill it now. What did you expect? Oh, I'll deliver somehow. What was I to do? Really, Mildred. I I'm awfully sorry.   Have you had any money?  

[00:49:12] Unknown:

6 or £7.  

[00:49:15] Unknown:

You must give up this life, you know.   Don't you think you could get some work? What is there I could do now? Well, I can't help you now. I only make 6 bob a week.  

[00:49:23] Unknown:

Don't be downhearted. Oh oh, don't leave me. I'm so afraid. Don't go yet, Phil.   There's no one else I can go to. Mildred, you've come back twice and twice. Oh, I know. I've treated you shocking, but don't leave me alone now. Or you've had your revenge. For heaven's sake, Mildred.   You know, baby died last summer.  

[00:49:41] Unknown:

Oh.  

[00:49:42] Unknown:

You might say you were sorry.  

[00:49:45] Unknown:

Oh,   I'm not. It's best for the child.   Look, Mildred. I'll get you the medicine, and you ought to take it, mind. Then you've got to get some honest work. Oh, I'll play my lesson, Phil.  

[00:49:56] Unknown:

No more racketing around for yours truly.   I won't go back to it. Not me.  

[00:50:18] Unknown:

Mildred.  

[00:50:19] Unknown:

What   Oh, it's you.  

[00:50:22] Unknown:

I waited outside.   Where are you going, Mildred?  

[00:50:26] Unknown:

Oh. Oh. Oh.   Oh. I was just going in to see the show. Down Marbury Lane? Not likely. Well,  

[00:50:34] Unknown:

Well, I can't sit home alone all the time, can I? Mildred, I just warned you. You're not fooling me. I'm not blind. I told you over and over how dangerous it is. You're sick. You've got to stop this sort of thing at once. Oh, out your jaw.  

[00:50:47] Unknown:

I just suppose I'm gonna live. Let me take you back home. You don't know what you're doing. It it's criminal. What do I care? Men haven't been so good to me that I need to bother my head about them.   Let go of my aunt, Philip. Mildred. Let go.  

[00:51:02] Unknown:

I can't do anything more.   That's the end.   Hurry now, Philip. Swaddling your tea. You'll be late for the shop. Not today. I'm checking in. Quitting. What? I got the solicitor's letter this morning. My uncle's gone, and the auction of his goods will clear my fees at the medical school.  

[00:51:33] Unknown:

Splendid.   Then you've got less than a year to qualify.   Peggy, Sally, break out a bottle of the shilling port. We have a celebration.   Our Philip's going back to his doctoring. What's ever wrong, folks? The world is turning up again. Sally, you must kiss Philip to celebrate his good fortune. Oh, I'm not. I don't like being kissed by men.   Ungrateful, Hussy.   Well, the wine will have to do. We'll drink to doctor   Philip Carey.  

[00:52:07] Unknown:

Mister Carey. Oh,  

[00:52:09] Unknown:

Sally.  

[00:52:10] Unknown:

You you didn't think it disagreeable of me not to kiss you last week at the celebration the way father wanted me to? Oh, not a bit.   Oh, well, go on reading.   I just thought as you were a loner, I'd come and sit with you. You know, you're the most silent person I've ever struck.   We don't want another who's talkative in this house. Father does nicely.  

[00:52:44] Unknown:

So you're the new assistant,  

[00:52:46] Unknown:

Yes, sir.  

[00:52:47] Unknown:

Got a club foot,   Yes, sir. Don't stammer about it. Nothing wrong.   You're not a university man, are you? No, sir. Good. They are two blasted gentlemanly for me. Very well. You'll do a breakfast at 08:30.   Well, Kerry, it's been six months. Yes, sir. I'm leaving Tuesday week.   Let's so. Look here. Why not stay?  

[00:53:25] Unknown:

Sir?  

[00:53:26] Unknown:

I'm offering you a partnership.  

[00:53:29] Unknown:

Why?  

[00:53:30] Unknown:

I like you. Well, what do you say? The practice brings around 700 a year, and when I die, you can succeed me. And that's better than knocking about the hospitals.  

[00:53:40] Unknown:

I I don't think I can. I I've had a roughish time, and I and I wanna get away. I think I'll try for a position on a tramp steamer. I wanna see Spain and and and the South Seas and oh, I was sort of ache for places I've never been. At any rate, I I mean to leave England. Going to tramp about,  

[00:53:57] Unknown:

Well, if you change your mind, why me? I'll give you one month,   one month to the day.  

[00:54:18] Unknown:

How's the work, Philip?   We've all been dying to know. Any, Sally?  

[00:54:23] Unknown:

Oh, it's not too bad. Doctor South offered me a partnership. Oh, how wonderful. But I've I've turned him down. I'm set on traveling now. I'm sick of the things and places I know. I don't wanna work on the same old hacking cops year in and year out. Splendid.  

[00:54:36] Unknown:

Off to the South Sea. That's a spirit. Right, Sally? If you say so, father.  

[00:54:40] Unknown:

But I don't see anything wrong with England.  

[00:54:43] Unknown:

No. Not this part of it anyway.   We always spend two weeks down here in Kent harvesting the hop fields. It pays its own way, and it's a delightful holiday.   Here now, Sally. You take Philip Orf and show him how hops are picked.   Get on now.   It's picked for your supper out here.  

[00:55:02] Unknown:

So you don't approve of my traveling here, Sally? No. I don't.  

[00:55:06] Unknown:

I'd much rather have you stay about.   Oh, would you really? Oh, never mind that now. We've got to get to the picking.   You see, mister Kerry, you sort of tickle the blossoms off.   It wants soft hands. You pick them so easily. Oh, you be careful, though.   A doctor doesn't want to bruise his hands, does he? You do like to take care of people, don't you? I've always liked you.  

[00:55:29] Unknown:

Well, I didn't know that. I knew  

[00:55:32] Unknown:

that day you came when you didn't have anything to eat.  

[00:55:35] Unknown:

Oh, I see. How can you? I'm I'm insignificant and and crippled and and ordinary and ugly. Oh, you are no silly. That's what you are.  

[00:55:46] Unknown:

Should you like to kiss me now?  

[00:55:48] Unknown:

I think so.   How old are you, Sally?  

[00:55:54] Unknown:

Nineteen.  

[00:55:55] Unknown:

You seem ever so much older than that.  

[00:55:57] Unknown:

Father calls me a Saxon temperament, but then he's always predicting I shall grow fat.   Father thinks a great deal of you. Sally,  

[00:56:06] Unknown:

might I kiss you again?  

[00:56:08] Unknown:

Perhaps we'd best take a walk after dinner.   If we don't pick any hops this afternoon,   well, it   will look awfully funny.   You've been awfully quiet, Philip. I'm afraid.  

[00:56:34] Unknown:

I'm afraid that if I say anything,  

[00:56:36] Unknown:

I shall ask you to marry me. Oh, but what about your plans to travel? Heaven knows you are frightfully keen on the South Seas. I I don't know.  

[00:56:45] Unknown:

Sally, I I've been starved for beauty,   and I fancied I thought that I'd have to go to the ends of the Earth to find it.   Well,   now I   I don't think I have to. Yes?   I've been in love, you know, but it was ugly and I I didn't want it again.   But it's it's changed.   I oh, enough of talking.   Sally,   you will marry me?  

[00:57:11] Unknown:

If you like.  

[00:57:13] Unknown:

Oh, don't you want to?  

[00:57:14] Unknown:

It's about time I settled down. Oh, but you don't want to marry me? Oh, there's no one else I would marry.  

[00:57:22] Unknown:

Then that settles it.   Oh, Sally.   People aren't ugly anymore. Everybody has some deformity, I suppose.   A a weakness, a sickness, a body or mind.   They can't help themselves.   But you've got to accept the good in them, you know, and and be patient with their faults. And  

[00:57:40] Unknown:

Phil, dear.  

[00:57:41] Unknown:

Yes?  

[00:57:42] Unknown:

You've talked enough now.   It's time to go back home.  

[00:58:11] Unknown:

The curtain of the NBC University Theatre falls on our dramatization of the Somerset Maugham novel of 'Human Bondage',   the eighth in this series of radio plays based on outstanding works in modern Anglo American fiction.   The radio adaptation was by Ernest Cunoy. Our intermission commentator was Mr. Clifton Fadiman.   Our stars were Brian Ahern, now being seen in Smart Woman with Constance Bennett, and Angela Lansbury, who has currently starred with Lana Turner, Gene Kelly, and June Allison in Metro Goldwyn Mayer's Technicolor production The Three Musketeers.   Our cast included Eric Snowden, Dan O'Herlihy, Monte Marguettes, Donald Morrison,   Constance Cavendish, and Alec Harford.  

Next week at this time, the NBC University Theatre turns to the work of Ernest Hemingway   as we present our dramatization of his famous story The Short Happy Life of Francis Macomber.   Productions of the NBC University Theater are currently being used in conjunction with college home study courses in Anglo American fiction under NBC's National College by Radio plan.   This plan permits NBC listeners to obtain college supervised,   organized education at home by means of radio listening and supplementary study.   For full information about the authors and how to take advantage of this home study plan, which is currently being developed at the University of Louisville and elsewhere,   send a penny postcard to college by radio courses,   National Broadcasting Company, New York twenty, New York.  

Your director was Andrew c Love. Original music for Of Human Bondage was composed by Albert Harris and conducted by Henry Russell. This program came to you from Hollywood.   Your entertainment problem is solved tonight because there are two and a half hours of great comedy ahead, five of the funniest shows in radio, shows like Ozzie and Harriet, the one and only Jack Benny, Phil Harris and Alice Faye, Edgar Bergen and Charlie McCarthy, and then Fred Allen. Listen and laugh straight through. For the best time of your life, the time is tonight on most of these NBC stations.   This is NBC, the National Broadcasting Company.