Matinee Theater - Beautiful Dreamer

Summary

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Summary of "Matinee Theater — Beautiful Dreamer"

Podcast: Harold's Old Time Radio
Air Date: June 17, 2026
Starring: Victor Jory as Stephen Collins Foster
Episode Theme:
A dramatized biography of Stephen Collins Foster, one of America's best-loved 19th-century songwriters, exploring his creative journey, personal struggles, and enduring musical legacy.

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Episode Overview

"Beautiful Dreamer" brings listeners back to the Golden Age of Radio, depicting the life and music of Stephen Collins Foster, the man behind beloved American tunes such as "Oh! Susanna," "My Old Kentucky Home," and "Beautiful Dreamer." Through narrative, dialogue, and excerpts of Foster’s music, the episode traces his rise from obscurity, his fleeting brush with success, and his eventual decline—culminating in a thoughtful meditation on the nature of legacy and the true measure of artistic impact.

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Key Discussion Points and Insights

1. The Man Behind the Music — Stephen Foster’s Early Days

• The episode opens with a historical context of Foster’s youth in Pittsburgh during westward expansion.
• Foster attends a minstrel show with his brother Mitt and Jeannie McDowell, who ultimately inspires his songwriting.
  • “Isn't 'Jim Crow' a great song? I can't get it out of my head.” — Stephen Collins Foster (02:52)
• The iconic moment when Foster is inspired by the migrating covered wagons becomes the spark for "Oh! Susanna."
  • “I just wrote a song. I want you to listen to it... One of these days you'll want to say I was the first person in the world to hear 'Oh Susanna' and I heard it at 3 o’clock in the morning.” — Stephen (04:42)

2. First Successes and the Songwriting Life

• Foster’s relocation to Cincinnati and first publications are dramatized via his letters home.
  • “The time goes very fast here in Cincinnati and I’m very busy. After the day’s work is finished, I spend my time writing songs.” — Stephen (06:25)
• Scenes interweave Foster’s personal life and his creative process, highlighting the origins of tunes like "My Old Kentucky Home" and "Camptown Races."
  • Humorous family banter and the struggle for recognition:
    • “Who wrote it? Someone named Stephen Collins Foster, I believe.” — Stephen, joking with a critic (06:09)

3. Love, Marriage, and Strain

• The touching courtship and eventual marriage between Stephen and Jeannie, full of awkward charm:
  • “What I’m trying to say is... Will you marry me? Now, don’t say no without thinking it over. I’ve got some fairly good qualifications. I’m...well, I can’t seem to think of them right now.” — Stephen (14:16)
• Scenes of marital happiness are juxtaposed with financial and career pressures.
  • “I want to give you every smallest thing you ever wanted. It’s...It’s hard to put into words. But, Jeannie, I love you so much. Sometimes when I look at you, I want to cry.” — Stephen (15:30)
• The marriage is tested by poverty, harsh critics, and waning success. Jeannie and their daughter Marion return to Pittsburgh as Foster grapples with failure.
  • “Faith? Faith’s for the very young. Oh, how can you—you gave me so much, and you’ve had nothing in return.” — Stephen (23:40)

4. The Nature of Success and Legacy

• The narrative is punctuated by a recurring “Skeptical Critic,” who belittles Foster’s achievements throughout his life, representing the naysayers and doubts Foster faced.
  • “Stephen Collins Foster, eh? Never heard of him. Well, he’ll have to do better than that if he ever expects to get any place.” — Skeptical Critic (06:12)
• Despite Foster’s struggles, his songs become embedded in the fabric of American life, sung by “everyone, everywhere,” as the narrator observes.
• Foster’s final days are marked by poverty and obscurity, but his music—and its effect—endure.
  • “He died at 38 with 38 cents in his pocket. One cent to account for each year he lived. Maybe he was a great man, maybe not. But he wrote a lot of songs, and America is still singing them. And I reckon they'll go on singing them for a long time to come.” — Commentator/Historian (27:32)

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Notable Quotes & Memorable Moments (with Timestamps)

• Inspiration strikes:
  • “It’s just something I thought of when those wagons passed. It’s been going around in my head.” — Stephen (04:14)
  • Performance of "Oh! Susanna" in the middle of the night: (05:00)
• Skeptical Critic recurring bit:
  • “Who wrote it? Someone named Stephen Collins Foster, I believe.” — Stephen, with sarcasm (06:09)
  • “He’s on his way someplace. Right now. He’s on his way to the top of the world.” — Stephen, optimistically (06:19)
• Proposal scene:
  • “Will you marry me?... Do you love me, Steve?” — Jeannie and Stephen (14:41)
• Romantic resolve:
  • “Aw, Jeannie, Jeannie, Jeannie. You make me want to be so much better than I am. I want to take all the music I know and fill your heart with it.” — Stephen (15:21)
• On adversity:
  • “Foster’s music is completely without merit. His latest, 'Come Where My Love Lies Dreaming,' is no exception. No. What’s the use, darling?” — Stephen, reading a negative review (21:54)
• On legacy:
  • “The covered wagons rolled westward to the tune of his music. The colored folks sang it and the white folks sang it. On southern verandas and in northern parlors. Generation after generation rocked their children to sleep with it and sang it to their loved ones and handed it down with the family Bible. Maybe he wasn’t much of a success as the world counted success in those days...But he wrote a lot of songs, and America is still singing them.” — Commentator/Historian (27:32)

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Important Segment Timestamps

| Segment | Time (MM:SS) | |---------------------------------------------|---------------| | Matinee Theater Introduction | 00:56 | | Pittsburgh beginnings/minstrel scene | 02:05 | | "Oh! Susanna" inspiration | 04:11–05:00 | | Move to Cincinnati, first success | 06:25–07:26 | | "My Old Kentucky Home" and "Camptown Races" | 07:44–08:52 | | Jeannie's heartbreak scene | 09:13–10:03 | | Marriage proposal and acceptance | 13:54–14:55 | | Wedding/marriage scenes | 15:11–16:29 | | New Orleans/Mardi Gras/Music legacy | 16:31–17:26 | | Act II – Post-marriage struggles | 19:34–22:08 | | Selling music rights/desperation | 22:26–24:27 | | "Beautiful Dreamer" composition | 25:00–25:45 | | Foster's downfall, passing, and legacy | 26:26–27:32 |

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Tone and Atmosphere

Throughout, the episode strikes a tone of melancholy nostalgia, blending moments of joy and heartbreak with a reverence for Foster’s artistry. The language is earnest, occasionally playful, always tinged with longing for a bygone era—both in music and American history.

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Final Reflection

"Beautiful Dreamer" honors Stephen Foster’s life not as a tale of unalloyed triumph, but as one of perseverance, imperfect humanity, and music that endures beyond the one who wrote it. The recurring question of “success” is answered less by Foster’s fortune than by his posthumous influence:
“Maybe he wasn’t much of a success as the world counted success... But he wrote a lot of songs, and America is still singing them. And I reckon they'll go on singing them for a long time to come.” (27:32)

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Transcript

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[Stephen Collins Foster]

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[Narrator]

N presents the Matinee Theatre starring Victor Jory. Vic's. The makers of Vic's VapoRub, Vic's Vetrinol, Vic's Cough Drops, and Vic's Inhaler brings you the Matinee theater in a most unusual presentation entitled Beautiful Dreamer, starring Victor Jory in the role of Stephen Collins Foster. You know, more and more millions of people are using Vicks Vetronol nose drops to relieve distress of head colds. Benefit by their experience, The curtain rises on Act 1 of Beautiful Dreamer.

[Commentator/Historian]

Lots of folks have had a lot of different things to say about Stephen Collins Foster, about where he lived and how he lived and what he thought about things. And so many years have passed now that it's a bit hard to sift the truth from the legend. I don't even know that that's important to anyone but the historians. Of course, most everyone knows that he grew up in Pittsburgh. And at that time, Pittsburgh was a swaggering, lusty little town along whose muddy streets the old covered wagons were rolling westward. On the night our story opens, Stephen and some of his friends had gone to see the celebrated Christie Minstrels. And after the show, he and his brother Mitt had walked home with young Jeannie McDowell.

[Stephen Collins Foster]

You know, I think this is one of the best evenings we've ever had. Isn't Jim Crow a great song? I can't get it out of my head.

[Jeannie McDowell]

Oh, I think some of your songs are just as good, Steve.

[Stephen Collins Foster]

I wish I thought so.

[Jeannie McDowell]

Mid luck.

[Narrator]

Hey, Steve, look, here come some of the covered wagons.

[Stephen Collins Foster]

Yeah, heading west.

[Jeannie McDowell]

Oh, Steven, wouldn't it be wonderful to go with them?

[Stephen Collins Foster]

Goodbye, folks.

[Narrator]

Good luck.

[Jeannie McDowell]

Goodbye Goodbye.

[Stephen Collins Foster]

Hey, what are you crying about?

[Jeannie McDowell]

I don't know. There's something sad about all these people leaving their homes. They don't know what's on going.

[Stephen Collins Foster]

That's what's so exciting about a genie. It's as though you're watching history roll by you. Close enough so you can reach out and touch it. Goodbye, mister. Good luck.

[Jeannie McDowell]

Go safely. Oh, go safely.

[Skeptical Critic]

Oh, thanks, friend.

[Stephen Collins Foster]

Hey there, little lady don't you cry we'll be back. Don't you cry don't you cry don't you cry for me.

[Narrator]

And look, Steve, if we don't let Jeannie go in the house, Dr. McDowell.

[Stephen Collins Foster]

Skin us alive, Mitt. There goes America West. Wish I was going, too. Well, good night, Jeannie. I'm going to leave for Cincinnati morning. I've got to finish packing.

[Jeannie McDowell]

I hope you'll be happy there, Stephen. We'll all miss you.

[Stephen Collins Foster]

Thanks. I'll miss you, too. Will I see you tomorrow?

[Jeannie McDowell]

Yes. We'll all be down to see you off. Thank you for a very lovely evening, Stephen. And you too, miss.

[Stephen Collins Foster]

Good night, Jeannie. Don't you cry for me what are you singing, Steve? I don't know yet. It's just something I thought of when those wagons passed. It's been going around in my head. Knit. Mitt. Mitt, wake up. Wake up. What is it, Stephen? What do you want? What time is it? About three in the morning, I guess. Listen, Mitt, I just wrote a song. I want you to listen to it.

[Commentator/Historian]

Oh, good gosh.

[Narrator]

Can't it wait till morning?

[Stephen Collins Foster]

No, sir. You're gonna hear it right now. One of these days you'll want to say I was the first person in the world to hear old Susanna and I heard it at 3 o' clock in the morning. I'd be just as happy to say

[Narrator]

I heard at 10 in the morning, but go ahead.

[Stephen Collins Foster]

It rained all day. The night I left the weather, it was dry. The sun so hot I froze to death. So Susanna, don't you cry. All ashore that's going to show up. All ashore. It's going to shore.

[Jeannie McDowell]

Goodbye, son. Don't forget your umbrella when it's raining.

[Stephen Collins Foster]

All right, Mom. Goodbye, Father.

[Skeptical Critic]

Bye, Stephen. Do a good job, son.

[Stephen Collins Foster]

Well, I'll do my best.

[Jeannie McDowell]

Goodbye, Stephen. I think oh, Susanna's a wonderful song. Did you know that Mitt came around and taught us the words this morning?

[Stephen Collins Foster]

No. Oh, good Miff. Well, goodbye, everybody. See you soon.

[Jeannie McDowell]

Goodbye.

[Stephen Collins Foster]

Come on, everybody. Sing it for him now. Oh, Susanna, don't cry for me I

[Skeptical Critic]

come from Alhamdula with angel on my

[Stephen Collins Foster]

knees oh, hello don't cry for me hey, young man.

[Skeptical Critic]

Those friends gave you quite a send off. They're certainly noisy enough. What's that blame thing they're singing?

[Stephen Collins Foster]

It's a song called oh, Susanna.

[Skeptical Critic]

Like it? No, I never heard it before. Who wrote it?

[Stephen Collins Foster]

Someone named Steven Collins Foster, I believe.

[Skeptical Critic]

Steven Collins Foster, eh? Never heard of him. Well, he'll have to do better than that if he ever expects to get any place.

[Stephen Collins Foster]

You're wrong. He's on his way someplace. Right now. He's on his way to the top of the world.

[Skeptical Critic]

Not with that trash he isn't.

[Commentator/Historian]

No.

[Stephen Collins Foster]

Well, just wait and see, mister. Just you wait and see. My dear Mother and father, the time goes very fast here in Cincinnati and I'm very busy. After the day's work is finished, I spend my time writing songs. I made the acquaintance of a gentleman who's going to publish some of them. I've written a few of them.

[Skeptical Critic]

Right this way for the famed Christy Minstrels. The greatest, the most gorgeous, the most complete, the funniest and the most tuneful. Minstrel show now touring America. See the cakewalk. Hear the Minstrel Singers present the latest song by the celebrated American composer Stephen Collins Foster. Way Down South Way down South where

[Stephen Collins Foster]

the corn roll Come along to Cuba and we'll dance the Bocajuba Way down

[Commentator/Historian]

South where the corn grows.

[Stephen Collins Foster]

Dear Mitt, it seems such a long time since I've seen any of you. I like it here, but I think I'll be coming home soon. One day last month I crossed the river to visit our cousin at Federal Hill. That house in Kentucky is something I'll never forget. I fell asleep listening to the voices that drifted up from the Negro quarters. I think I must put it all into a song. My old Kentucky home. Dear Mother and Father, I've spent enough years away from home and enough years as a bookkeeper. And so I'm giving up my position and returning to Pittsburgh. I'm taking the boat one week from Saturday. By the way, I'm enclosing a song for Mitt to take a look at. I'm calling it Camptown Races.

[Skeptical Critic]

Camptown Racetrack.

[Stephen Collins Foster]

Five Mile Long Pole.

[Skeptical Critic]

Duda Day. I come down there when I had caked in Duda I go back home with a pocket put in oh, Dooda

[Stephen Collins Foster]

day Quite a run all night Quite a run all day I'll bet my

[Narrator]

money on the Bobtail neck. Somebody bet on the vein there. Jane, don't you think that's one of the best songs Steve has ever written.

[Jeannie McDowell]

Yes, indeed I do.

[Stephen Collins Foster]

You'll be going down to the wharf with us to meet him Saturday, won't you, Jeannie?

[Jeannie McDowell]

No, I. I don't think so. I have a great deal to do on Saturday. And I'm sure Stephen won't even miss me. Not that I care.

[Narrator]

Now, Ms. McDowell, what kind of an attitude is that?

[Jeannie McDowell]

Well, what kind of an attitude should I have? He's been gone for three years, Mitt, and he didn't write one letter. Not one.

[Stephen Collins Foster]

Well, he sent messages.

[Jeannie McDowell]

Oh, to be sure. Give my love to everyone. Say hello to everyone. And say hello to Jane if you happen to see her. Oh, no, Mitt, it's no use. It never has been any use. I know that I'm not the girl for Steven anyhow, now that he's so famous.

[Stephen Collins Foster]

Oh, don't feel that way. Please come, Jeannie.

[Jeannie McDowell]

No, no, don't ask me mid I might cry. And I don't want Stephen ever to see me cry. Particularly over him.

[Stephen Collins Foster]

All right, Jeannie, if that's the way you want it.

[Narrator]

Sleep, Stephen.

[Stephen Collins Foster]

No. Just thinking. Why wasn't Jeannie at the boat? She was busy, I guess. Oh, I see. Jeannie's very popular, you know, I don't think there's a fellow in town that

[Narrator]

wouldn't give her his right arm if she wanted it.

[Stephen Collins Foster]

That so? Stephen, have you ever really looked at Jeannie? Well, I. I haven't had much chance in the last three years, but I've got a pretty good idea what she looks like.

[Commentator/Historian]

Yeah?

[Stephen Collins Foster]

What color are her eyes? Brown.

[Skeptical Critic]

Blue?

[Stephen Collins Foster]

Green? They're gray. Oh, gray. Well, I knew there was something like that. So Jeannie's the town belle and she didn't have time to come down to the boat, huh? Throw me your shoes, will you, fella? Sure, but what do you want with

[Narrator]

your shoes at 2 in the morning?

[Stephen Collins Foster]

I'm going to pay a call. Toss me my trousers. What? She didn't have time to come down to the boat, huh?

[Narrator]

You can't call on a girl at two in the morning.

[Stephen Collins Foster]

Can't I? Well, just watch me. Watch me.

[Narrator]

You won't feel so smart if Dr. McDowell comes out and wants to know

[Stephen Collins Foster]

why you're throwing pebbles at his windows. No, you won't feel so smart either. If you break window, she doesn't wake up. I'm going to hammer on the door.

[Narrator]

There she is.

[Stephen Collins Foster]

I'll wait here for you.

[Jeannie McDowell]

Now, what do you boys mean by throwing rocks at my window at this hour of the night? Suppose my father had come down Weren't

[Stephen Collins Foster]

you taking sort of a chance opening the door? Or do you open the door to anyone who throws pebbles at you? End it.

[Jeannie McDowell]

I knew it was you. I peeked. Hello, Stephen. Welcome home.

[Stephen Collins Foster]

Hello, Jeannie. I missed you at the boat. I missed you in Cincinnati.

[Jeannie McDowell]

Did you, Stephen?

[Stephen Collins Foster]

You know something? Milt seems to think that I've never really seen you in my life.

[Jeannie McDowell]

And what do you think about that?

[Stephen Collins Foster]

I think maybe he's right. Because you seem like someone completely new to me tonight. Someone I've never met before. You're not the little genie I grew up with. Steve, it's awfully late. Good night, Jeannie. I'll be calling tomorrow.

[Jeannie McDowell]

Good night, Stephen. I'll be waiting tomorrow.

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[Stephen Collins Foster]

Hello, Jeannie.

[Jeannie McDowell]

Hello, Stephen. Come in.

[Stephen Collins Foster]

Thank you.

[Jeannie McDowell]

Won't you sit down?

[Stephen Collins Foster]

Sit down? No, no. I, I, I think better on my feet. Gina, there's something that just occurred to me. That is. It's been on my mind for some time, I suppose. Only I, I didn't really know it. You see, I never thought about you in that way because you, you always seemed sort of like a sister. And I.

[Jeannie McDowell]

Yes?

[Stephen Collins Foster]

Think that you're a very splendid girl with a fine character and I've always looked up to you and.

[Jeannie McDowell]

Well, that's very nice to know, Steve.

[Stephen Collins Foster]

Yes, I suppose it is. Jeannie, please don't interrupt. What I'm trying to say is. Well, it's. Oh, hang it all. Will you marry me? Now, don't say no without thinking it over. I've got some fairly good qualifications. I'm. Well, I can't seem to think of them right now.

[Jeannie McDowell]

Do you love me, Steve?

[Stephen Collins Foster]

Love you? Oh, Jeannie. Oh, Genie. Oh.

[Narrator]

Will you marry me?

[Jeannie McDowell]

Of course I will,

[Stephen Collins Foster]

Misses Foster. You're looking very beautiful out here in the moonlight.

[Jeannie McDowell]

Oh, Stephen, I'm so happy. This is the most wonderful wedding trip that anyone ever had. I hate to get off the boat tomorrow.

[Stephen Collins Foster]

I never knew anyone could be this happy. You know, I found myself going up to absolute strangers and getting acquainted just so I could sit down and say, let me tell you about my wife. I love to say those words. My wife, my wife. They make me feel very wealthy. Aw, Jeannie, Jeannie, Jeannie. You make me want to be so much better than I am. I want to take all the music I know and fill your heart with it. I want to give you every smallest thing you ever wanted. It's. It's hard to put into words. But, Jeannie, I love you so much. Sometimes when I look at you, I want to cry.

[Jeannie McDowell]

I feel the same way. I'm very proud to be your wife. Oh, darling, I don't want to get off the boat tomorrow.

[Stephen Collins Foster]

Darling, tomorrow will be such a wonderful day. We're going to the Mardi Gras in New Orleans. We're going to dance and sing, drink champagne, and I'll whirl you around and around till you can't catch your breath. And around and around and around.

[Jeannie McDowell]

Oh, Stephen, I'll never catch my breath.

[Stephen Collins Foster]

How do you like the Mardi Gras?

[Jeannie McDowell]

It's like a fairy tale come to life. Stephen, listen. They're playing oh, Susanna. They're playing your music.

[Stephen Collins Foster]

I don't believe it.

[Jeannie McDowell]

Oh, look at everyone dance. Darling, aren't you proud?

[Skeptical Critic]

Well, well, if it isn't my young friend of the boat.

[Stephen Collins Foster]

Good evening, sir.

[Skeptical Critic]

We rode from Pittsburgh to Cincinnati together, remember?

[Stephen Collins Foster]

Yes, Very well. This is my wife, sir.

[Skeptical Critic]

How do, ma'?

[Commentator/Historian]

Am?

[Jeannie McDowell]

How do you do?

[Skeptical Critic]

Say, isn't the orchestra playing that same song your friends were singing on the wharf that day?

[Stephen Collins Foster]

Yes, they are. Well, what do you think about Stephen Collins Foster and his music now?

[Skeptical Critic]

I still think it's terrible. And I still say Stephen Collins for isn't going anyplace. Well, nice to have seen you again. Goodbye.

[Jeannie McDowell]

Oh, Stephen, who was that horrible man?

[Stephen Collins Foster]

Just someone I met on the boat? I never knew his name, and he never knew mine. Now, don't look like that, darling. Don't you know the people like that are put in the world so the Stephen Collins Fosters will work harder? You know what we're gonna do tomorrow?

[Jeannie McDowell]

What?

[Stephen Collins Foster]

We're going home. Then we're going to New York. And I'm gonna work and work and work. I'm gonna put all the things I feel inside me into music. The music that comes surging out of a man's soul when he looks around him and says, this is my country. This is my home. The bright, lusty music of Americans laughing. The strong, bitter tears of Americans pausing to bury the dead. And the tenderness of American men for one woman. The love of firesides and peace at evening. The prayers, the dreams, the disappointments, the triumphs. It's all inside me, Jeannie, and it's all music. My friend, whoever he was, says Stephen Foster will never get any place. What I say is wrong, and I'll prove that he's wrong.

[Narrator]

In just a moment. The second act of Beautiful Dreamer, starring Victor Jory and featuring Betty Winkler. Friends, you probably know from experience how exasperating it is when your nose stuffs up at night from transient congestion or a cold in the head and makes breathing so difficult it's hard to get to sleep. Now, the next time you're bothered this way, put a few drops of Vicks Vetrinol in each nostril and feel it go right to work to open up the stuffy nasal passages in a hurry and make breathing easier. You'll marvel at how quickly it invites one restful sleep by helping you breathe comfortably again. Vetronol is a specialized medication that brings grand relief anytime, day or night from sniffles, sneezes and stuffiness caused by head colds. So it's wise to keep a bottle always on hand, ready to use immediately when needed. Try Vetronol, friends. You'll like the way it works. Just follow the simple directions in the package. Vic. Nose drops.

[Stephen Collins Foster]

The curtain rises on Act 2 of Beautiful Dreamer, starring Victor Jory as Stephen Collins Foster.

[Commentator/Historian]

So Stephen Foster and his genie went back home to Pittsburgh. Their daughter Marion was born about a year year later. And then they went on to New York and took a room in the boarding house. Some folks liked his music, some didn't. No one paid much money for it. And so, in Stephen's own words, all the world became sad and dreary. Far from the old folks at home.

[Jeannie McDowell]

Old Stephen, that's beautiful. I think it's one of the finest things you've ever written. Have you taken it to the publishers?

[Stephen Collins Foster]

Yes, I took it over this afternoon. It'll be out a few weeks.

[Jeannie McDowell]

Oh, darling, this song can't help but be a success. I'm sure the newspapers will speak well of this one.

[Stephen Collins Foster]

You really think so this newspaper would

[Narrator]

like to go on record as stating that such tunes as Old Folks at Home are trivial and not musically inspiring. Yet they continue to break out every now and then like a morbid irritation of the skin.

[Stephen Collins Foster]

Last night, Ms. Annaz, shame to say, stooped to pick up and sing Old Folks at Home. One would as soon think of picking up an apple core in the street.

[Skeptical Critic]

Old Folks at Home is as trashy as most of the other compositions of Stephen Collins.

[Commentator/Historian]

Foster,

[Jeannie McDowell]

The baby doesn't look well, does she, Steven? I wonder if she's getting the proper nourishment.

[Stephen Collins Foster]

I'm afraid she isn't. Let me. Let me hold her a while, Jeannie.

[Jeannie McDowell]

All right. Aw, look at her smile. She's a good little girl. Tuck the blanket around her, dear. I'll sing her to sleep. Come where my love lies Green Dreaming Dreaming.

[Stephen Collins Foster]

Foster's music is completely without merit. His latest, Come Where My Love Lies Dreaming, is no exception. No. What's the use, darling?

[Jeannie McDowell]

There are good comments and reviews too. You mustn't read only the bad ones.

[Stephen Collins Foster]

Jeannie, I. I don't think I. I don't think I can write music anymore.

[Jeannie McDowell]

Stephen. A letter came from Mitt this morning. He sent some money to tide us over until your next royalties come in. By then our luck will change. I'm sure of it. Well, you're the greatest composer in the world.

[Stephen Collins Foster]

I'm afraid I'm closer to being the greatest failure. It seems as though everything in the world is slipping away from me. I don't like to ask, Mr. Lamb, but I wonder if I could possibly get an advance on Ex Royalty. My family's not been very well, Mr. Foster. I'm sorry to have to refuse you. But that is impossible. You've already borrowed on your next royalties. We couldn't possibly advance you any more money. But I've got to have it, mister. Look, I'll sell you all the future rights to any of my songs that you've already published for $200, huh? All right, Mr. Foster, I. I'll have a check drawn at once.

[Jeannie McDowell]

Stephen, don't sit here with the room so dark. Let me turn up the lamps.

[Stephen Collins Foster]

$200 on the table there. And when that's gone, I don't know where we'll turn. Jeannie. Jeannie, I'm so frightened. What's happened to me? I was. I was gonna do it so much. I was gonna be up there on top with the world in my pocket. Look at me. I haven't a prayer or a hope.

[Jeannie McDowell]

Oh, darling, don't say that you'll come into your own yet. You mustn't lose faith in yourself.

[Stephen Collins Foster]

Faith? Faith for the very young. Oh, how can you? How can you forgive me for what I've done to you? You gave me so much, and you've had nothing in return.

[Jeannie McDowell]

Oh, my darling. I've had what I wanted in return. I've had your arms around me. I've had your love.

[Stephen Collins Foster]

Yes, that you have had and will always handle.

[Jeannie McDowell]

Please, Stephen, don't let your heart be broken because success didn't come as easily and as swiftly as we thought it might. Nothing worthwhile comes easily. Darling, I've been thinking. It's such an added expense trying to keep Marian and me here in New York. Maybe I'd better take her home for a while. I can get a job in Pittsburgh. And later, when you're on your feet, we can try again. Well, Stephen, what do you think?

[Stephen Collins Foster]

I think you'd better go.

[Jeannie McDowell]

I don't like to leave you, but I need you.

[Stephen Collins Foster]

I want you to go. I can't stand watching anymore. I can't stand looking at my child. And she always looks hungry to me.

[Jeannie McDowell]

Listen, Stephen, I love you more than anything or anyone in the world. Please believe that.

[Stephen Collins Foster]

Don't you. I don't want any soft words. I don't want any pity. Just please go.

[Jeannie McDowell]

All right. Mary and I'll be waiting in Pittsburgh. We'll all be together soon, I'm sure.

[Stephen Collins Foster]

I'm afraid that's a dream, Jeannie. Just a beautiful dream. Good morning, Mr. Foster. How are Mrs. Foster and the little one today? I think they're well, Mr. Lamb. They returned to Pittsburgh for a time. Oh, well, they'll be back soon, won't they? I don't think so. Look, I brought you a song. I want you to tell me quite frankly whether you think it has any merit and, of course, whether you want to publish it. Beautiful Dreamer, eh? Nice title. Oh, yes, yes, Yes, I. I think this is quite beautiful. Foster. Do you think it's above the level of the rest of my work? I think it's as good as anything you've ever written. I'm afraid that isn't quite good enough. I'm afraid it has to be better than anything I've ever done to be good enough. Well, all I can tell you, Mr. Foster, is that I think it has merit and that we'll be happy to publish it. Thank you. Thank you very much. Well, hello.

[Commentator/Historian]

Hello.

[Skeptical Critic]

Don't you remember me? I rode on a boat from Pittsburgh to Cincinnati and I saw you Again at the Mardi Gras in New Orleans.

[Stephen Collins Foster]

Yes, of course, I remember.

[Skeptical Critic]

With a young man that was such a booster for Stephen Collins. Forster. Do you still think he's such a great composer?

[Stephen Collins Foster]

No, not anymore.

[Skeptical Critic]

Well, you finally come around to my way of thinking, have you? I told you he'd never amount to anything. I can pick them every time.

[Stephen Collins Foster]

He might have amounted to something. He just must have taken the wrong turn somewhere.

[Skeptical Critic]

No, he just didn't have the stuff to begin with. Oh, I was just going for a bite of dinner. You care to join me?

[Stephen Collins Foster]

No, thank you. I'm going home. I'm tired and I'm going home.

[Skeptical Critic]

Matthew, look here in the paper. It says, Stephen Collins Foster died today in the pauper's ward at Bellevue hospital. He had 38 cents to his name. What have I always said? I said Stephen Collins Foster would never amount to anything. I said nothing good would ever come of him. I can pick them every time.

[Commentator/Historian]

Yeah. A lot of folks that said he'd never amount to anything said, I told you so when he died. And a lot of folks that had liked him felt a great loss. But a heap of folks that never knew him at all and never would went right on singing his music. The covered wagons rolled westward to the tune of his music. The colored folks sang it and the white folks sang it. On southern verandas and in northern parlors. Generation after generation rocked their children to sleep with it and sang it to their loved ones and handed it down with the family Bible. Maybe he wasn't much of a success as the world counted success in those days. He died at 38 with 38 cents in his pocket. One cent to account for each year he lived. Maybe he was a great man, maybe not. But he wrote a lot of songs, and America is still singing them. And I reckon they'll go on singing them for a long time. To come. To.

[Narrator]

In just a moment, a word from Victor Jory. These midwinter days, you can never tell when you'll suddenly catch cold. That usually means sniffles, sneezing, your head all stuffed up. Now you really should do something about those head cold discomforts. A neglected head cold can make you feel pretty miserable. And one of the best things you can do, and the sooner the better, is to put a little Vicksbatranol in each nostril. It's remarkable how a few drops of this specialized medication bring relief in short order. Vetronal works right where trouble is to soothe sniffly, sneezy irritation and help clear stuffiness. And more than that if you use Vetronal soon enough, if you use it at the first sniffle or sneeze or other warning sign of a cold, it actually helps prevent many colds from developing. So, friends, it's sensible when you feel a cold is coming on to use a few drops of Vetronol right away for relief. And as a wise precaution, follow directions in the package. Vic's Vetronal Nose Drops.

[Stephen Collins Foster]

This is Victor Jory. Next week on the stage of Vic's Matinee Theatre, we bring you one of the great hits of Broadway and the screen, Dark Victory. I will play the role of Dr. Fred Steele, and Gertrude Warner will be heard as Judith Treherne. Please be sure and write to me and let me know what plays you would like to hear. Address me Victor Jory, care of Columbia Broadcasting, New York 22 New York.

[Narrator]

Our play today was written by Gene Holloway and was directed by Richard Sanville. Music for this series is under the direction of Mark Warnall. The role of Jeannie Today was played by Betty Winkler. Be sure to be with us next week when Vicks, the makers of Vicks VapoRub, Vicks Vapronol, Vic's Cough Drops and Vicks Inhaler, brings you the Matinee Theater production of Dark Victory, starring Victor Jory. This is cbs, the Columbia Broadcast System.