Corey Burton - (Master voice artist): Corey Burton is one of the best voice artists in the business, and had the good fortune to work with Hans many times on radio in the late 1970's for such series as Alien Worlds, Heartbeat Theatre, Sears Radio Theatre, and Mutual Radio Theatre. His emulation of Hans Conried's vocal stylings is a marvel to hear (listen to his Capt. Hook in Return to Neverland for a prime example). For more information regarding Corey Burton's career, please visit his web site at www.coreyburton.com. Recently, Mr. Burton was kind enough to answer some questions regarding his work with Hans: SG: When did you first become aware of Hans Conried's voice work, and was he an influence on your own career as a voice artist? CB: "Probably the Jay Ward shows- especially Fractured Flickers, where he was most 'himself'; then there were the Dr. Seuss specials. Other than being a favorite impression, and the quintessential model of a Shakespearean ham-actor, my career has been more influenced by Paul Frees and Daws Butler. I figured I'd be stronger as a multi-voice guy, as I never was able to develop that single, remarkable vocal 'flavor'." SG: Is it true that one of your early jobs was to emulate Hans' voice for a Disneyland attraction (the voice of the magic mirror)? CB: "I don't think it was for an attraction, but my second professional job was indeed Hans' Magic Mirror persona for a demo (which never left 'the shelf') of a proposed project for Disney. I did actually have the opportunity to be Hans' Mirror character for a cheaply-produced Disney Home Video a few years ago: SingAlong Songs 'Happy Haunting'; Party At Disneyland." SG: What were some of the highlights of working with Hans on radio in the 1970's? CB: "Listening to the stories of the heyday of radio... His strict yet gentlemanly code of professional conduct (no screwing around during rehearsal and recording), and seeing the legendary 'one red sock' he always wore for luck while performing. His performances were always flawless, every time." SG: [A] difficult thing for me when writing the book was trying to describe what it was that set Hans Conried apart from other voice artists. He had a special way with how he molded the words he spoke. He could create the deep, melodious, "Shakespearean" speech of his youthful days, or the slightly nasal, comedic growl of his more cartoonish characters. I would be fascinated to hear what you, as a top professional in the field, describe what made Hans Conried special. CB: "Hans didn't actually believe he was anything special; he would have described himself as a fairly ordinary professional actor. After being forced to do my impression for him, he responded, 'That's an interesting impression... But I don't speak with an accent!'. He later conceded that, 'This is all very flattering, young man. ...But why don't you find someone more Worthy to Idolize!' Describing his own peculiar style of speech as 'affected', he often related that his best-known characterizations were simply his impression of John Barrymore, who had amused and impressed him in his youth. To me, his bigger-than-life delivery infused every single word with a distinctive weight and color -- rich with irony and dark humor. Real genius, possessed by very few actors. Tim Curry is probably the only comparable vocal 'stylist' currently working. I can only hope to faithfully reproduce the fundamental music of such skillful genius, as a dedicated craftsman and loyal fan of this uniquely satisfying performer. ...In a word: 'Glorious'!" |
Interview Page |
From time to time I will be posting material gathered from interviews with people who knew or worked with Hans during his long career that I was unable to contact prior to the publication of my book. Please check back regularily for new information! Suzanne Gargiulo |
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Beverly Garland - (Stump the Stars): I had the good fortune to bump into Ms. Garland at the 27th Friends of Old Radio Convention in October in Newark, New Jersey. She graciously agreed to say a few words about working on the Stump the Stars quiz show during the 1962 - 1963 season: "What fun it was to be on Stump the Stars. Everyone thought I was the comic relief, as I could never figure out what the card said half of the time. Hans was a dream to work with; so bright and fun. I think we all had such a wonderful time on that show and were thrilled to be doing it. We would get to the CBS Studios about 2 hours before the show, and Mike Stokey would go over the different hand signals that you use in charades--kind of give us a test run. [We would then go to] make-up and dress, and then [we did] the show live in front of an audience. We never knew what our sayings were going to be, and the tension was great. I was always scared out of my wits. When I first tried out for the show, I came home and showed my husband what it was all about.... He said, "Sweetheart, you will never be able to do that show." I did every one! Poor Hans, I was always all over him, [I] just got so excited. Hans, however, was a very cool cat and was one of our best players." |
Corey Burton - (Master voice artist): Corey Burton is one of the best voice artists in the business, and had the good fortune to work with Hans many times on radio in the late 1970's for such series as Alien Worlds, Heartbeat Theatre, Sears Radio Theatre, and Mutual Radio Theatre. His emulation of Hans Conried's vocal stylings is a marvel to hear (listen to his Capt. Hook in Return to Neverland for a prime example). For more information regarding Corey Burton's career, please visit his web site at www.coreyburton.com. Recently, Mr. Burton was kind enough to answer some questions regarding his work with Hans: SG: When did you first become aware of Hans Conried's voice work, and was he an influence on your own career as a voice artist? CB: "Probably the Jay Ward shows- especially Fractured Flickers, where he was most 'himself'; then there were the Dr. Seuss specials. Other than being a favorite impression, and the quintessential model of a Shakespearean ham-actor, my career has been more influenced by Paul Frees and Daws Butler. I figured I'd be stronger as a multi-voice guy, as I never was able to develop that single, remarkable vocal 'flavor'." SG: Is it true that one of your early jobs was to emulate Hans' voice for a Disneyland attraction (the voice of the magic mirror)? CB: "I don't think it was for an attraction, but my second professional job was indeed Hans' Magic Mirror persona for a demo (which never left 'the shelf') of a proposed project for Disney. I did actually have the opportunity to be Hans' Mirror character for a cheaply-produced Disney Home Video a few years ago: SingAlong Songs 'Happy Haunting'; Party At Disneyland." SG: What were some of the highlights of working with Hans on radio in the 1970's? CB: "Listening to the stories of the heyday of radio... His strict yet gentlemanly code of professional conduct (no screwing around during rehearsal and recording), and seeing the legendary 'one red sock' he always wore for luck while performing. His performances were always flawless, every time." SG: [A] difficult thing for me when writing the book was trying to describe what it was that set Hans Conried apart from other voice artists. He had a special way with how he molded the words he spoke. He could create the deep, melodious, "Shakespearean" speech of his youthful days, or the slightly nasal, comedic growl of his more cartoonish characters. I would be fascinated to hear what you, as a top professional in the field, describe what made Hans Conried special. CB: "Hans didn't actually believe he was anything special; he would have described himself as a fairly ordinary professional actor. After being forced to do my impression for him, he responded, 'That's an interesting impression... But I don't speak with an accent!'. He later conceded that, 'This is all very flattering, young man. ...But why don't you find someone more Worthy to Idolize!' Describing his own peculiar style of speech as 'affected', he often related that his best-known characterizations were simply his impression of John Barrymore, who had amused and impressed him in his youth. To me, his bigger-than-life delivery infused every single word with a distinctive weight and color -- rich with irony and dark humor. Real genius, possessed by very few actors. Tim Curry is probably the only comparable vocal 'stylist' currently working. I can only hope to faithfully reproduce the fundamental music of such skillful genius, as a dedicated craftsman and loyal fan of this uniquely satisfying performer. ...In a word: 'Glorious'!" |
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-- Corey Burton / Beverly Garland -- |
Dick Molony -- ("Back Stage Boy" for CBS: 1943-1944): B. Richard Molony found this web site and shared a little of his experiences working in radio during the early 1940s. At my request, Mr. Molony wrote down some of the memories he had of Hans Conried and others during his time as a "back stage boy" in Studio A at CBS Studios: |
" In 1943 I had the desire to become a radio announcer. I was only 17 and should have started in a small station at home (Colton or San Bernardino), but I aimed high. My uncle worked for Max Factor, so I used his office as headquarters and started making the rounds. Finally made contact with CBS, but all I could get was an usher's job. The variety of shows at Columbia Square was great: Suspense, Judy Canova, Lux Radio Theater, Harry James, Mayor of the Town, to name a few. When Fall came I had a chance go to Studio A (the big one) as "Back Stage Boy." I answered the phone, ran errands, and kept the key to the stage door. Shows that originated from Studio A: Lady Esther Screen Guild Players, Burns and Allen, Camel Caravan (Moore and Durante) and Ceiling Unlimited. [For the latter show] Hans did the warm up. Sunday morning was not an easy time to get a studio audience. When I was ushering we lured people off the street by telling them, "These are the last two tickets." We also channeled the departing audience from a kid's talent show in Studio B or C right into Studio A, even though no one was supposed to be seated after a show went on the air. We needed to do something to try to fill up the bigger studio. It probably seated five to six hundred people. I remember Hans' wardrobe: Rumpled tweed suit, loafers, bright red or green vest, gold patterned tie with a big pyramid-shaped tie pin, hair a little longer than most. Definitely a theatrical look, but I suppose it kept him in the memory of producers casting shows. He worked regularly on several Studio A shows. I worked up an intro for Joseph Cotten. Hans could use in his warm up: "Warm as wool, smooth as silk, as serviceable as burlap, as modern as nylon, here he is: Joseph Cotten." Hans aparently liked it because he did use it several times. I also remember Hans' father. We called him Papa Conried. He used to wander around, kind of lost when Hans brought him to the studio. [He was] a short man with grey stubbly hair who was very friendly. Years later I saw him in the post office in Westwood when I was going to UCLA. I've since kicked myself for not speaking to him about my memories of Hans. Hans was warm and friendly with all the stagehands, musicians, ushers, and back stage boys. His forte was comedy although he did drama too. I never did end up a radio announcer. I left CBS in 1944 to join the Navy and went back to school five years later. I ended up teaching school for 33 years. The only radio work now is with Audiovision a radio service for the sight handicapped. I read the LA Times for two hours each Monday morning. " |
