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Dick Beals

Richard "Dick" Beals (March 16, 1927 – May 29, 2012) was an voice actor and radio performer whose lifelong career spanned seven decades and encompassed over 3,000 commercials, numerous , and radio programs. Born in , , Beals was renowned for his high-pitched, childlike voice—resulting from a childhood glandular condition that left him standing just 4 feet 6 inches tall and weighing under 70 pounds—which allowed him to specialize in voicing young boys, babies, and even animals like parrots, chipmunks, birds, and rabbits. Beals began his professional journey in radio while studying broadcasting and advertising at Michigan State University, contributing voices to shows such as The Lone Ranger and The Green Hornet. After graduating and moving to in 1952, he quickly established himself in the burgeoning field of television and , becoming one of the first actors to focus exclusively on voice work for children's characters. His breakthrough came in 1954 when he originated the role of Speedy , the effervescent mascot whose catchphrase "Plop, plop, fizz, fizz. Oh, what a relief it is!" featured in over 200 commercials until 1964, cementing Beals' status as a commercial icon. Throughout the 1950s and 1960s, Beals became a staple in stop-motion and animated television, providing the voice for Davey Hansen in the religious series , a role that highlighted his ability to convey innocence and enthusiasm. He also lent his talents to productions like and , as well as series such as , Frankenstein Jr., and later (1992), where he voiced the young Norman Normanmeyer Jr. at age 65. Additionally, Beals voiced other memorable commercial characters, including the Campbell Soup kids and the Oscar Mayer wiener in its jingle, contributing to his reputation as "the man of a thousand voices" in an era when was pivotal to and children's .

Early life

Family background

Richard Lee Beals was born on March 16, 1927, in , , into a devout family of Christian Scientists. As the middle child of three brothers, he grew up in an environment shaped by the family's religious beliefs, which emphasized spiritual healing through over conventional . This faith influenced their approach to his health challenges from an early age, fostering a sense of resilience and reliance on divine guidance that Beals later credited for shaping his optimistic outlook. In childhood, Beals was affected by a glandular that stunted his physical development, preventing him from undergoing and resulting in a permanent high-pitched, childlike voice reminiscent of a 10-year-old. The condition limited his adult height to 4 feet 6 inches and weight to less than 70 pounds, contributing to a boyish appearance that initially posed challenges to his amid peer interactions. In line with their principles, his parents opted against medical intervention, turning instead to prayer, which Beals reflected upon as reinforcing his belief in overcoming limitations through inner strength. Despite these hurdles, Beals discovered early joy in performance during his childhood, excelling at of children's voices and engaging in activities that highlighted his vocal talents. He began for his team at age seven, leveraging his small stature and energetic personality to participate actively. These pursuits, combined with his innate ability to imitate sounds and personas, sparked a lifelong interest in voice work that carried into his later education at .

Education and early interests

Born in , , Dick Beals graduated from a local high school before enrolling that same year at (then known as Michigan State College). His family's Christian Scientist background instilled a sense of discipline that supported his early pursuits in and . At Michigan State, Beals majored in , with a strong interest in that shaped his creative development. He actively participated in campus radio station WKAR, where he served as student manager, covered , and performed in weekly radio dramas, honing his vocal skills through early experiments with character voices. Beals also produced and performed in puppet shows broadcast on the station, blending his broadcasting studies with hands-on entertainment production. These activities allowed him to explore voice modulation and performance techniques in a supportive academic environment. As a teenager in the 1940s, Beals secured his first paid radio work on local stations, contributing boyish voices to popular programs such as The Lone Ranger and The Green Hornet, which were recorded at stations like WXYZ. This early professional experience, beginning before his college years, built on his natural high-pitched voice and enthusiasm for audio storytelling, setting the foundation for his future career. He graduated with a in 1949, having transformed his youthful interests into practical expertise.

Career

Radio beginnings

Following his graduation from Michigan State University in 1949 with a degree in radio broadcasting, Dick Beals entered professional radio in Detroit, where he quickly found work at station WXYZ as a voice actor. His distinctive high-pitched voice, resulting from a glandular disorder that stunted his physical growth to 4 feet 6 inches and preserved a boyish timbre into adulthood, led to early casting in child roles rather than the announcer positions he initially sought. Beals provided youthful character voices on prominent Detroit-based programs, including episodes of The Lone Ranger, where he portrayed the Lone Ranger's nephew Dan Reid, The Green Hornet, and Challenge of the Yukon. These serials, broadcast nationally from WXYZ between 1949 and 1951, marked his foundational experiences in dramatic radio, often involving multiple juvenile parts per episode to suit his vocal range. In 1952, Beals relocated to to pursue broader opportunities as radio transitioned toward the , where he continued as a versatile performer on anthology and series. The challenges of his unchanged voice limited him from mature adult roles, prompting a specialization in child characters and creative vocal effects, which directors valued for authenticity in youth-driven narratives. He contributed to various episodes of in the early 1950s, voicing young protagonists and sidekicks, and appeared frequently on , delivering tense juvenile performances in psychological dramas. Other key credits included , where his voice added realism to streetwise kid informants, and serials like , solidifying his niche in the medium's final golden years. Beals' Detroit and Los Angeles tenure honed his ability to evoke innocence and energy, but the voice's permanence steered him away from conventional narration or effects artistry toward targeted child portrayals that became his radio hallmark. By the mid-1950s, as live radio waned, these experiences laid the groundwork for his pivot to specialization beyond .

Commercials and voice work

Dick Beals achieved his breakthrough in voiceovers in when he was hired to voice Speedy , the animated for the product, marking a pivotal shift from his radio work to commercials. His high-pitched, boyish voice—resulting from a childhood glandular condition that stunted his growth and preserved his youthful —perfectly suited the character's energetic, enthusiastic , allowing Beals to deliver rapid, sing-song lines like "Plop, plop, fizz, fizz" with infectious vigor. This role not only showcased his technique for high-energy, childlike performances but also became a cultural staple of mid-20th-century , embodying the era's whimsical product endorsements. Beals voiced Speedy in more than 200 commercials from 1954 to 1964. The longevity of this role provided significant financial stability, enabling him to sustain a full-time career in without the need for on-camera work, as his distinctive delivery became synonymous with relief and effervescence in household remedies. Beyond Speedy, Beals created voices for other iconic ad characters and contributed to campaigns for products like , where his youthful energy animated surreal, family-oriented spots. He also served as an unseen pitchman for brands such as , Soup Kids, and , often voicing child protagonists or lively narrators that enhanced the playful appeal of everyday consumer goods. These roles amplified his impact on , influencing how brands leveraged voiceovers to evoke joy and familiarity in audiences during the spots.

Animation roles

Dick Beals made his debut in animation voicing the daydreaming schoolboy Ralph Phillips in the short , directed by and released in 1954. This role showcased Beals' distinctive high-pitched, youthful voice, which he retained due to a glandular condition that prevented typical changes. From 1960 to 1962, Beals provided the voice for Davey Hansen in the stop-motion animated Christian series , appearing in the first 40 episodes of the original run as well as associated holiday specials produced by . The series, created by the Lutheran Church, featured moral lessons through Davey's adventures with his dog , and Beals' performance helped make the character relatable to young audiences. Beals contributed extensively to Hanna-Barbera productions in the 1960s, voicing the mischievous Arthur Spacely, son of Cosmo Spacely, in three episodes of The Jetsons starting in 1962, including "The Good Little Scouts" and "Elroy's TV Show." He also supplied various boy character voices in The Flintstones from 1963 to 1966, adding energy to child ensemble scenes in multiple episodes. In later decades, Beals continued animation work, voicing the scheming Reggie Van Dough, Richie Rich's jealous cousin, in the Hanna-Barbera series Richie Rich from 1980 to 1983. His final role came in 2005 as the villainous Baby-Faced Moonbeam, a childlike criminal over 300 years old, in an episode of the series . Despite frequent attributions, Beals did not voice the in The Show; this common misconception arose from his similar childlike to other performers, but Beals refuted it in a 2001 interview, stating, "I never, never played . Never! That was Dal McKennon."

Personal life

Marriage and family

Dick Beals never , a choice he attributed to his enjoyment of a carefree lifestyle, as he remained single throughout his life. He had , and at the time of his death, he had no immediate survivors, having outlived his two brothers. This lack of a allowed Beals to focus intensely on his career, though the demands of frequent travel for voice work occasionally isolated him from closer personal connections. Beals established his home life in after moving from to in 1952 to pursue acting opportunities. He resided in the area during the height of his professional activities, commuting regularly for recording sessions. In 1970, seeking a quieter, small-town environment, he relocated to Escondido, where he opened an , coached , and volunteered as a high school sports announcer, integrating into the local community. Later in life, he moved to , where he spent his final years in a memory care facility until his death in 2012.

Hobbies and affiliations

Beals developed a strong passion for later in life, owning a Dolphin 24 sailboat named Think Big that he raced and sailed single-handed from . He acquired the vessel more than a decade prior to 2009, outfitting it with modifications such as a 2GM diesel engine, hydraulic transmission, self-tacking , and power to enhance safety and solo handling during his regular outings, which occurred twice weekly. As a dedicated alumnus of , where he earned a in 1949 majoring in and , Beals maintained deep ties to his throughout his life. He served as an alumni officer and was inducted into the Varsity Club Alumni for his participation on the cheerleading squad during his student years. Beals frequently returned to campus to engage with students through speaking engagements, sharing insights from his entertainment career, and supporting university events that fostered connections among graduates. He delivered the fall 1992 commencement address at the university. Beals' personal interests extended to community involvement and recreational pursuits shaped by his background, including a lifelong adherence to principles instilled by his family. Raised in a Christian Science household in , he credited his faith with providing guidance in overcoming personal challenges and pursuing ambitious goals. In addition to , Beals enjoyed playing , , and competing in tournaments. He was an instrument-rated private pilot and used his own plane to commute to work in . Later in life, he worked as a and authored a 1992 autobiography titled . Beals contributed to local communities in , where he coached youth baseball leagues and served as president of the elementary school board, demonstrating his commitment to educational and athletic development.

Later years and death

Health challenges

Dick Beals was born with a glandular disorder that stunted his physical development and prevented him from undergoing , resulting in lifelong , low body weight, and a persistently high-pitched, childlike voice. This condition caused him to reach an adult height of 4 feet 6 inches and weighing approximately 70 pounds or less. Raised in a family that practiced , Beals adhered to its principles, which emphasize spiritual healing over conventional medical interventions, and no records indicate he pursued traditional treatments for his disorder. The condition presented ongoing challenges in daily life, including the need for custom-made shoes to accommodate airline travel during his career commutes. While the disorder uniquely suited Beals for youthful voice roles early in his career. He continued working sporadically into his later years but retired from in late 2005 following his final role as Baby-Faced Moonbeam in the animated series .

Death and tributes

Dick Beals passed away on May 29, 2012, at the age of 85, while residing at Vista Gardens Memory Care in . His death marked the end of a career spanning more than seven decades in radio, television, and . Following his passing, Beals received widespread recognition in major obituaries that celebrated his iconic contributions, particularly his portrayal of Speedy , the energetic character in the long-running commercial campaign. The highlighted his "youthful enthusiasm" in bringing the role to life, noting its cultural impact across generations. Similarly, obituary emphasized his distinctive voice work in and , crediting a childhood glandular condition for his enduring childlike timbre that defined characters like the original Davey in . Ron Simon, a curator at the , described Beals as "one of the great voice actors of all time" and a pioneer in the field of voice-over. Fans and colleagues paid tribute through personal remembrances that reflected on his versatility and warmth, often sharing anecdotes from his extensive body of work. aired a segment remembering Beals as the voice that "gave lie to ," underscoring his ability to infuse characters with lively innocence. Among the reflections was a clarification on a common misconception: despite frequent attributions, Beals never voiced the title character in The Show, a role he explicitly denied in a 2001 interview, attributing it instead to Dal McKennon. echoed this sentiment in its tribute, urging readers to revisit his performances as a fitting homage to his legacy.

Filmography

Film

Dick Beals contributed his distinctive high-pitched voice to several animated theatrical shorts and features throughout his career, primarily in roles that showcased his versatility in voicing youthful or energetic characters. His early work in Warner Bros. cartoons established him as a go-to talent for imaginative boy protagonists, while later projects included dubs and compilations that bridged his commercial voice work into film. One of Beals' breakthrough roles was as the daydreaming schoolboy Ralph Phillips in the 1953 short , directed by , where the character fantasizes about historical figures during a classroom lesson. He reprised the role in the 1957 sequel short Boyhood Daze, in which Ralph imagines himself as a cowboy hero, further highlighting Beals' ability to convey wide-eyed enthusiasm and mischief. These uncredited performances marked his entry into animated filmmaking and were pivotal in his development as a voice artist for productions. Beals also provided the English-dubbed voice for the young Prince in the 1957 Soviet animated feature (released in English in 1960), a musical adaptation of Hans Christian Andersen's that follows a girl's quest to rescue her friend from an icy enchantress. In this role, he brought a sense of innocence and determination to the character navigating a fantastical winter landscape. In 1987, Beals appeared in the The Puppetoon Movie, a compilation of stop-motion animated shorts by , where he voiced the effervescent —a character originating from his iconic television commercials—adding a lively, promotional flair to the collection's whimsical tone. This crossover role exemplified how Beals' commercial persona extended into theatrical animation. Beals' final notable film credit came in the 1996 live-action Pinocchio's Revenge, where he supplied the voice for the sinister puppet , blending his animation expertise with a darker, context involving a possessed terrorizing a family. Though primarily a in a non-animated project, it underscored his adaptability across genres.

Television and animation

Dick Beals voiced the lead character, Davey Hansen, in the stop-motion animated series , a Christian children's program that aired from 1960 to 1965 across its first three seasons. He also provided voices for numerous supporting boy characters in the series, such as Teddy, Nat, Joe, Timmy, Tommy, and others, contributing to the show's moral storytelling through everyday adventures. Although a revival aired in 2000, Beals did not participate in its voice work. In Hanna-Barbera's futuristic animated sitcom (1962–1963), Beals portrayed Arthur Spacely, the snobbish son of Mr. Cosmo Spacely, who often interacted with the Jetson family as a rival to Elroy. He additionally supplied voices for group characters, including members of the Space Cubs troop in episodes like "Elroy's Pal." His high-pitched, youthful delivery added contrast to the adult cast in this pioneering prime-time animated series. Beals brought his signature boyish timbre to the role of Reggie Van Dough, the wealthy but envious and rival to the protagonist in the Filmation-produced animated adaptation Richie Rich (1980–1983). Appearing in multiple segments across the show's run, Reggie's scheming personality highlighted Beals' versatility in voicing mischievous child characters within the treasure-hunting and adventure narratives. Beals also originated the voice of Gumby in the stop-motion series The Gumby Show (1957–1968), providing the character's enthusiastic and innocent tone in early episodes. Other notable television roles include Numbskull in Roger Ramjet (1965–1969) and Buzz Conroy in Frankenstein Jr. and The Impossibles (1966). During the 1950s and 1960s, Beals specialized in boy voices for numerous Hanna-Barbera and Warner Bros. animated shorts and early television productions, often dubbing or voicing child roles in uncredited capacities to enhance ensemble scenes. In Hanna-Barbera projects, his contributions included re-dubbing boy actors and providing child sounds for series such as The Flintstones, helping to populate the studio's emerging roster of family-oriented cartoons.

Radio and commercials

Beals began his professional radio career in shortly after graduating from in 1949, where he had honed his skills in broadcasting and puppetry through campus station WKAR. In the late 1940s and early , Beals provided youthful voices for several popular radio dramas aired on WXYZ, including , , , , and One Man's Family. After relocating to in 1952, he expanded his radio work, appearing in hundreds of episodes across anthology and Western series such as , , and Dr. Christian. For instance, in 1953, he voiced the character Mike on the soap opera-style program Rogers of the Gazette. During this era, Beals frequently contributed child and animal voices to children's radio programs, including integrated promotions within adventure serials like Space Patrol, where he narrated segments and provided character sounds for puppet-style storytelling elements. Beals' radio presence extended significantly into advertising, where his high-pitched, versatile voice made him a staple for over 3,000 commercials spanning decades. His most enduring role was as Speedy, the animated spokesperson for , beginning in 1954 and continuing through the 1960s with more than 200 spots; these radio versions featured Beals delivering the iconic "Plop, plop, fizz, fizz, oh what a relief it is" to promote the product's quick relief for . Other major campaigns included voicing the cheerful child in wiener ads, singing lines like "Oh, I'd love to be an wiener," as well as the Campbell Soup Kids in promotional emphasizing family-friendly meals. Beals also lent his voice to restaurant spots, portraying eager young customers, and cereal promotions such as within Space Patrol broadcasts, where he voiced enthusiastic kids interacting with the product during show-integrated ads. Additionally, he provided and effects for commercials tied to radio serials, including Space Patrol merchandise like ray guns and spaceship models, often blending seamlessly with the program's narrative. These audio-only efforts, many of which were cross-produced from TV campaigns, highlighted Beals' ability to convey excitement and innocence in short-form radio and promos.

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