Peggy Webber, radio actress who worked with Orson Welles and Alfred Hitchcock, dies at 100, The Hollywood Reporter says

Peggy Webber, a radio actress known for appearing in productions associated with Orson Welles and Alfred Hitchcock and for sharing the microphone with a range of Hollywood and broadcast figures, has died at age 100, according to a report by The Hollywood Reporter published August 17. Her career spanned the golden era of network radio and extended into film and television, with credits that the publication described as including work that intersected with prominent filmmakers and leading performers.

The Hollywood Reporter said Webber worked in radio alongside performers such as Basil Rathbone, Lionel Barrymore, Harold Lloyd, and Herbert Marshall. The report also characterized her as prolific in broadcast, with roles that reflected how radio studios assembled recognizable casts for serialized drama and suspense for home audiences.

In television, The Hollywood Reporter said Webber created the TV series Our Miss Brooks, an adaptation associated with mid-century network programming. The series name is also the title of the earlier material that was adapted for television, reflecting how radio-era talent and formats carried into the television cycle as households shifted from listening to watching.

The Hollywood Reporter also linked Webber to film credits associated with major studio releases, including The Screaming Skull, which the report identified among her work. The credit underscores the cross-media pattern for performers of her era, when radio actors frequently transitioned to screen roles and studios tested familiar talent in multiple formats.

The publication framed Webber’s film work as part of a broader professional network, saying she worked for both Orson Welles and Alfred Hitchcock on film. That connection places her career within two of the most recognized creative brands of Hollywood’s suspense and auteur-driven tradition, even as radio performers were often credited less prominently than the directors and headline stars.

Webber’s death at 100 marks the closing of a long chapter for the broadcast theater that radio brought into American living rooms, particularly for audiences who followed recurring programs and adapted stories. The Hollywood Reporter’s account also reflects the labor reality of the period, when actors often relied on a steady pipeline of casting for radio sessions and then sought screen and television work as the industry reorganized around television.

At this stage, details beyond those credited in The Hollywood Reporter report, including specific survivors, a funeral or memorial schedule, or additional credits beyond those named, were not included in the provided record. Further reporting may clarify the scope of Webber’s late-career work and document how her contributions were preserved through later releases, archives, or broadcasting histories.