Zoren: Spike Eskin returning to WIP as afternoon drive co-host

A duo becomes a trio once Spike Eskin returns to Philadelphia to co-host the 2 to 6 p.m. afternoon drive spot on WIP (94.1 FM).

Eskin leaves an executive berth as vice president of programming at New York’s sports talk outlet, WFAN-FM, to go back on the air at ‘IP. He relinquished mic duties at 94.1 in 2016 to take a backstage position as brand manager there.

Obviously, he was made a considerable offer by WFAN and WIP owner, Audacy, to give up the power of the front office for a host gig.

When Eskin starts, he will join hosts Ike Reese and Jack Fritz on the 2 p.m. show. Reese, my personal favorite among ‘IP commentators, has been in the time slot with various micmates for several years.

Fritz joined him last month when Jon Marks departed the station.

Although Marks’ exit was unexpected when he announced it in December, the talk host told Crossing Broad that he had been aware of its likelihood for a year. He left when his contract lapsed.

Word at the time was he wanted to spend more time with his children. Audacy’s financial troubles were cited by Marks. The large broadcaster filed for Chapter 11 bankruptcy this month.

Philadelphia Business Journal reports a barber shop may be in Marks’ future.

Eskin has WIP and Philadelphia sportscasting lineage as the son of Howard Eskin, who continues to be a major figure at the sports station.

No doubt there will be some Eskin-to-Eskin exchanges when Spike takes the air. I’ve seen no announced starting date.

The afternoon program has always been my favorite at ‘IP because of the perspective Ike Reese brings to local sports topics.

Reese often applies an element his colleagues miss. That is calm, well-explained deliberation and some insight into how professional athletes and franchise front offices viewsituations.

He is far less liable to be carried away by emotion, trend, or populist thought than his new partner, the eminently excitable Fritz, or hosts of the 6 or 10 a.m. programs, which I tune away from half of the time.

Like his father, Spike Eskin knows sports.

Time will remind us if he’s more in the vein of Reese or a screaming reactor like most ‘IP hosts. I often say when you’re listening to WIP, be cautious about shows with hosts whose first names begin with “J,” overnighter John Johnson and the esteemed Jody MacDonald being the exceptions.

Listening nirvana is when you hear MacDonald and Glen Macnow together.

A fundraiser with heart

Time for a valentine.

Normally, I don’t write about fundraising events because they are expensive and often geared to the already committed.

An exception is warranted when an actor with the far-ranging talent of David Morse comes to one of the most special yet relatively unsung theaters in Philadelphia, Quintessence, the consistent excellence and program creativity of which deserves patronage from all corners of the region.

Morse, a resident of Philadelphia known for his work on “St. Elsewhere” and as George Washington in “John Adams,” will appear with his wife, Susan Wheeler Duff, in a one-time Valentine’s Day performance of A.R. Gurney’s “Love Letters”, to benefit Quintessence in its historic theater at 7137 Germantown Ave. in Philadelphia’s Mt. Airy section.

“Love Letters” has been one of the most performed and trustworthy two-handers since Gurney himself introduced it opposite Holland Taylor in 1988.

It involves a series of letters spanning more than 50 years between a man who becomes an important U.S. senator, Andrew Makepeace Ladd III (Morse), and Melissa Gardner (Wheeler Duff), whose life is not nearly as neat and orderly.

I’ve seen dozens of combinations of actors doing the play, including other married couples, and I never fail to delight in the variety each pair brings to Gurney’s amusing work. E.G. Marshall and Colleen Dewhurst are my favorites.

Morse is known for his versatility. I have seen him play rough characters as well as sensitive men, and he does all with aplomb.

Wheeler Duff appeared in several movies in the ’80s, including “The Twilight Zone.”

The Morses moved to Philadelphia, Wheeler Duff’s hometown after a 1994 earthquake destroyed their home near Los Angeles. Wheeler Duff also wrote a book, “The Habit.”

“Love Letters” with Morse and Wheeler Duff is set for 8 p.m. Valentine’s Day, Wednesday, Feb. 14.

Preceding the performance, Quintessence is giving a 7 p.m. reception for ticketholders, including hors d’oeuvres, specialty cocktails and champagne. Morse and Wheeler Duff will remain on stage for a chat after the show.

Each member of the audience receives a parting gift of Valentine’s Day chocolate from Mt. Airy’s High Point Espresso and Pastry Shop.

Quintessence, the brainchild of the talented, perceptive Alexander Burns, is housed in a vintage movie theater, the Sedgwick. Proceeds from the “Love Letters” benefit help the theater and its constant restoration of its interestingly Deco home.

Remember, this performance is a benefit.

Highest-priced tickets are $1,000, which includes an individual bottle of champagne served at a ringside table for two, or the number in your party. A $500 gift put one in the first four rows of the theater. A reserved ticket is $250. General admission — my league — is $150.

Tickets can be obtained by visiting QTGREP.org or calling 215-987-4450.

Hats off to Charles Osgood

Often, while talking about differences in broadcasting today from its beginnings in the 20th century, I point out that several of the personalities so integral to the development, particularly of television news, would never be hired by any current network or station.

Among them are Edward R. Murrow, Charles Kuralt and Walter Cronkite, who cut their teeth in radio news and moved to television because of their credibility, sophistication, journalistic prowess, and ability to ask germane questions regardless of their looks.

My point is these men, all from CBS … hmmm … were successful and highly regarded for their talent, competence, and dare I say it, fairness, rather than their looks.

Another in that number, and also from CBS, is Charles Osgood, like Kuralt, an outstanding mind who could bring his fascination with the infinite variety of the world to general audiences with clarity and wit that entertained as well as informed.

Right now, maybe Mo Rocca, also from CBS, has that knack for blending knowledge with charm.

Osgood had many roles in a long career, the hallmark of which was his longtime assignment as host of “CBS Sunday Morning,” one of the continually superior shows on television.

Osgood’s urbanity and intellect were evident in every introduction and comment he made. His soft, measured voice invited you to enjoy each segment of the program, one of the few that touches on culture, science, nature, and interesting personalities as well as topical material.

Osgood engendered trust and credibility. His interest triggered our interest.

His quiet, considered endorsement as host was enough to make one believe that the story he or she was about to see was important and bound to entertain, perhaps even enlighten.

Jane Pauley nicely follows in the footsteps Osgood so deftly planted.

Osgood also leavened radio with his smart, well-composed commentaries, “The Osgood Files.”

His writing and perspective remain a model for anyone seeking to engage via radio.

It wasn’t only substance vs. matinee idol looks that separated Osgood from many of the television hosts and personalities today.

It was his demeanor, cordial and friendly, a little droll even, that secured his place in the Pantheon of broadcasters.

Osgood communicated with calmness, using well-chosen words, wit, and subtle enthusiasm instead of the razzmatazz, overhyping, overexcitement, and penchant for branding any next story the most amazing thing you’re going to hear that day.

Osgood did not jump around a studio or gush. He didn’t pronounce a new thing the “phenomenon of the century” every few weeks.

He didn’t push or sell the stories he reported or introduced. He didn’t beg for attention with antics and quips that backfire as often as they land.

He simply told his story, with narrative skill, splendid vocabulary, and the care to be accurate rather than leading or propagandistic.

Charles Osgood died Tuesday at age 91 at his home in Saddle River, N.J.

He had been functionally retired from “CBS Sunday Morning” since 2016 and from radio in 2017.

Delivering poetry and wisdom as well as news and commentary, he was one of a kind and, unfortunately within a broadcasting kind that doesn’t seem to be regenerating itself.

He was missed when he left the air. His legacy is indelible. He will be lauded in memory.

His like may never be seen again.

Locals at the Oscars

Philadelphians can root, root, root for some hometown nominees when the Oscars air on Sunday, March 10, on ABC (Channel 6).

As announced on Tuesday, the 2024 field (for 2023 films; in my parlance these are the 2023 Oscars for 2023 releases), includes Jenkintown native Bradley Cooper in a couple of categories for his acting and production of “Maestro,” and Philadelphians Da’Vine Joy Randolph and Colman Domingo for their respective performances in “The Holdovers” and “Rustin.”

Of the three, Randolph, who studied acting at Temple, has the best chance of receiving the Academy Award. She is nominated in the Best Supporting Actress category, possibly the strongest of all the fields.

Domingo has worked extensively as an actor and playwright (“Dot”) at People’s Light & Theatre Company.

An upcoming film role may relate to his portrayal of Nat “King” Cole there a few seasons back.

Cooper has multiple nominations, “Maestro” being his fifth for acting following “The Silver Linings Playbook” (shot in Delaware County), “American Hustle,” “American Sniper,” and the fourth iteration of “A Star is Born.”

I’ve seen all of the nominees, and the alleged also-rans, and favor Randolph among supporting actresses while preferring “Oppenheimer’s” Cillian Murphy over Cooper and Domingo in the Best Actor category, most likely to be won by “The Holdovers’ ” Paul Giamatti.