Algonquin Round Table History,News 1939 Radio Broadcast with Broun, Perelman, Powell, Thurber

1939 Radio Broadcast with Broun, Perelman, Powell, Thurber

Heywood Broun

Heywood Broun

Heywood Broun


Listen to the voices of some of the most popular New York authors of the 1930s, all with a tie to The New Yorker. The all-star radio cast includes Heywood Broun, S.J. Perelman, Dawn Powell, and James Thurber. The occasion was the radio game show Author! Author! which was broadcast in October 1939. In it, audience members sent in scenarios for stories. A radio acting team performed the pieces. Then the authors filled in the blanks for the ending of the story.

Listen here (free streaming, 29 minutes)

The show was broadcast on the Mutual Network and carried on WOR.

S.J. Perelman is the master of ceremonies for the episode. He ribs Heywood Broun, who at the time was working tirelessly for the Newspaper Guild. Also on the broadcast is John Chapman, drama critic for the New York Daily News from the 1930s-1950s. He was nicknamed “Old Frost Face” because he was so hard to read.

Powell is introduced as the author of The Happy Island (1938), and as a playwright. “She’s wearing the famous Powell Rubies at her throat,” Perelman says. “Isn’t there some famous legend attached to those gems, Miss Powell?” he asks. “The only thing attached to them right now, Mr. Perelman,” comes her quick reply, “Is a child mortgage put there by the Greenwich Savings Bank.”

James Thurber was about to publish Fables For Our Times of his New Yorker pieces, and had just returned from Los Angeles. “Well I think that Hollywood is the only place in the world.” Thurber says drily. “The only place in the world where you can make $5,000 a week and then borrow money to get back to New York on. The only other memorable thing is fact the air out there comes in cans from the Mojave Desert. In two grades, breathed and unbreathed.”

The show wraps up as the authors act out a scene in a college dean’s office with Broun playing a football coach, Thurber as the dean, and Powell as the head of the girls’ athletic squad.

It is bittersweet to listen to the broadcast, as Broun died just two months later.

Related Post

Former location of the Blue Bar and Oak Room.

Algonquin Hotel Gut Renovation Moves Bar, Reconfigures LobbyAlgonquin Hotel Gut Renovation Moves Bar, Reconfigures Lobby

Former location of the Blue Bar and Oak Room.

Former location of the Blue Bar and Oak Room.


In the most extensive renovation in many decades, the Algonquin Hotel is underway with a major overhaul that has removed the bar, restaurant, front desk, and ceiling. The Round Table is gone, and so is the perch that Hamlet had in the window on Forty-fourth Street.

East side of hotel, where front desk was located.

East side of hotel, where front desk was located.


The hotel, opened in 1902, has removed the Blue Bar completely. Visible from the sidewalk, the ceilings are open and the floors are down to bare concrete. On the east side of the building, the front desk and the areas around it are wide open. The Round Table Room, at the back of the property, is under wraps. Little is visible from the street of the details.

It is currently not open to the public; the owners are using the pandemic to overhaul the property. In April the Algonquin was housing healthcare professionals.

The Algonquin was last renovated in 2012, in an overhaul that saw the Blue Bar expanded and the Oak Room reduced in size. That work maintained the distinctive qualities that dated to the 1998 renovation overseen by Alexandra Champalimaud. That had followed the $20 million mechanical renovation in 1991 ($38 million today) by the Aoki Corporation; that was when the tiny Blue Bar moved across the lobby.

Front entrance, closed to public.

Front entrance, closed to public.

While the Algonquin Hotel has city landmark status, it only applies to the exterior, not to the interior.

I have reached out to Marriott to inquire about a visit and look at the plans. An update could be coming soon.

These photos were taken on August 21, 2020. For the history of the Algonquin Hotel, buy the book.

West side of Blue Bar and Oak Room.

West side of Blue Bar and Oak Room.

Robert Benchley

Listen to The Secret Life of Walter MittyListen to The Secret Life of Walter Mitty

Today is the 74th anniversary of recording The Secret Life of Walter Mitty (1944).

“The Secret Life of Walter Mitty” with Robert Benchley. Recorded for CBS on Dec. 20, 1944. Based on the 1939 short story by James Thurber, this is the full radio dramatization. It comes from “This Is My Best” radio series. Thurber praised Benchley’s performance, and didn’t like the 1947 Danny Kaye musical comedy version. Mogul David Selznick approached Benchley in 1940 about making a short film based on the Mitty story that first appeared in The New Yorker, but it didn’t work out. Less than a year after this recording was made, Benchley died in New York. “The Secret Life of Walter Mitty” is included in “Thurber Writings and Drawings” (Library of America series).

From The Algonquin Round Table New York: A Historical Guide (Lyons Press, 2015), by Kevin C. Fitzpatrick, with a foreword by Anthony Melchiorri.

Heywood Broun

Heywood Broun on Actors and VaudevilleHeywood Broun on Actors and Vaudeville

Heywood Broun

Heywood Broun


On this day in 1938 Heywood Broun died. Here is a sample of one of his columns. From “It Seems To Me.” He loved vaudeville and the stage.

On Actors

Nothing in the world dies quite as completely as an actor and the greater the actor the more terrifying becomes the sudden transition from radiance to darkness. One day he is there with all his moods and complexities and curious glints of this and that, and the next day there is nothing left but a few wigs and costumes; perhaps a volume of memoirs, and a scrapbook of clippings in which we learn that the dead player was “majestic in presence” that “the poise of his head was stag-like” that he had “a great voice which boomed like a bell,” that he was “regal, subtle, pathetic,” and that “every one who was ever associated with him loved and respected him.”

Ask some veteran theatergoer “What was Booth like as Hamlet?” and he will say “Oh, he was wonderful.” Perhaps the face of the old theatergoer will grow animated and Booth may live again for a moment in his mind, but we who have never seen Booth will never know anything about him. Nobody can recreate and explain the art of a dead actor to the next generation. Even men who do tricks and true magic with words are not adept enough to set down any lasting portrait of an actor on the wing.