OTAGO GIRL WHO 'MADE GOOD'

Radio Record, 15 July 1938, Page 8

OTAGO GIRL WHO 'MADE GOOD'

Special to the "Record"

by

C. H.

FORTUNE

N a spirit of holiday fun, Jessie McLennan made application while she: was in Sydney three years’ ago for a vacant job as announcer to station 4BC Brisbane. She never seriously expected to get it, but the station officers thought otherwise. They knew enough of their radio to recognise charm when they saw it. They were not deaf to the Dunedin girl’s really beautiful voice-clear as crystal with all, of crystal’s sparkle. Jessie McLennan suddenly found herse!f on the Brisbane station’s payroll.

In the beginning, she was announcer in the sessiols for children and for women, aiso in special sessions. Very soon she became Iiltty of the team, "Keith and Witty," which won tremendous popularity by discussing over the air, ks Average Young Man and Average Young Woman, a host of topics from frivolous nonsense to matters of real and far-reaching siguificance. But "Kitty" bad not been long with 4BC before ber ability in another direction

was realised. Jessie McLennan had uot been a leader iu the Dunedin Repertory Society for nothing. Her star began to shine with clearer lustre when Australian listeners showed signs of tiring of the American transcriptions with which the stations had been mainly feeding them. Flesh-and-blood came into its own-the advertisers liked it and the public liked it even mare. So "Witty," of "Keith and Kitty," changed to "Mata Hari," then to "Queen Victoria." ... Jessie McLevnan took the transformations calmly. NDEED, this Dunedin girl who has so detinitely "made good" across the Tasman, is strangely reluctant to talk of her success. Modesty is a rare quality in radio stars. But when I interviewed her after her recent arrival home in Dunedin, I could coax her into telling very little about herself. Only by surreptitious scablling: in a few

of her old copies of "Teleradio," an Australian publication similar to the "Radio Record," did | discover that her "Mata Hari" was something of a sensation -‘‘a lesson to all aspirants for microphone fame," said the critic. When it ended, the station: showed -its appreciation generously by the gift of three handsome volumes-Galsworthy’s | Plays, Ibsen's Plays, and Marie Tempest’s Biography. Even Fay Compton praised Miss. McLennan’s "Queen Victoria," which she played in a speciallywritten version’ of the Queen’s life. But those were only two successes, In two years Miss McLennan played in some 24 serial plays, sume Col taining as many as 40 episodes, uone less than’13 At one time she was taking leading roles in: five major Pro: ductions. By this time. Jessie McLennan was u national fayourite. Then, suddenly, she resigued from 4BC, returning hurriedly to Dunedin because her father Was ill. Ue died just after her arrival. And now? Miss McLennan:does not know. The job at Brisbane is wuitiug for

her, but she is not sure Whether to go back ‘or ta try new .- pastures. -She would like to link up with radio in New Zealand, and she has a shrewd--eye- on the United States.. Of course, if-she goes there, it will probably be good-bye to New Zealand. ‘The Americans don’t let taient slip ‘through their fingers! ° Whatever happeus, there is one thing of which Miss McLennan is sure. Radio is her career, ‘She will never ao stage work again. "l’d be. frightened. of the’

crowds," she told me. "The.microphone is my friend." © THAT Was all she would say about her -sucéesses in the past or her hopes for the future. Adroitly,. she turnéd . the conversation to impersvnal subjects, talking of the progress of radio’ in Auatralia and. of station 4BC in par.’ ticular. : When she joined the Brisbane station it was independently owned, the prineipal of six ‘stations scattered.’ through Queensland. Later, Mr. Stuart Doyle, genius -of Australian commercial broadcasting, arranged for 4BC to become one of: about 40 in the Commonw ealth ‘commercial network. . Miss’ MeLennan had much to say ° ‘in praise: of the progréssive methods of the. Australian commercials’ policy. When they first started, she said, there was considerable animosity between them and the: (Continued: on page. 88;)

HEN a woman, of no radio experience whatever is appointed above more than 200 applicants to be announcer of a station as important as 4BC Brisbane, you are fairly safe in supposing she possesses more than her fair share of that important virtue called "personality."’ In this case, you would be right. Miss Jessie McLennan, of Dunedin, is an "‘it-girl" who has climbed by sheer merit very near the top of the ladder of Australian radio fame.

She "Made Good" a DUNEDIN GIRL (Continued from page 8).

nationals. That was now dying and relations were better. Improvement had taken place, too, in the programmes of both services, each spurring on the other to set ever higher standards. At first, American transcriptions had taken a prominent place in presentations over the air, forming indeed the bulk of the commercial features. But the public soon showed decided preference for "home-made" material, and now there was very little American entertainment broadeast. Australian recordings or flesh-and-blood performances were easily in the majority. As an example of the way in which studios were replacing ‘‘canned" entertainment, Miss McLennan quoted 4BC. Besides staff members, this station, with the other Brisbane studios, provided constant work for some 20 players available in the city. It carried three full-time script-writers to adapt well-known plays or prepare original material. Serials, thirty-minute and fifteen-minute plays were produced in the studio under guidance of Max Sorrelle, who had been thoroughly taught his trade by the Shakespearean actor, Allan Wilkie. Another talented member of the staff was Al Winn, a fine character actor who had had experience all over the world, but principally in the United States where he founded the Negro Theatre. He had won Miss MclLennan's gratitude by his advice and helpfulness, Another Australian radio figure whom she admired whole-heartedly was George Edwards, "marvel producer." The quantity and quality of his output and his versatility as an actor, were amazing. He played nearly every male voice in the features he produced. "In one production," said Miss McLennan, "he took no fewer than 13 parts, and only two sounded as if they might possibly have been spoken by the same voice!" N the Australian commercial service, periodical announcing competitions are held and new voices found from time to time. Individuality in the staffs is strongly encouraged and executives are always open to suggestions for improvement. Monthly studio conferences offer opportunity for gencral discussion. Nor do the nationals lag hehind. Both services are zealous in the search for talent, and every encouragement is given to local aspirants. But-and listen to this, all you who dream of "crashing" Australian radio-the talent must be good to be recognised. The men who give Australian auditions certainly know their business.