[1] According to one reviewer for the Wireless Weekly, "The Remittance Man was a great joy to me, but I think the playwright came dangerously close to home.

It takes imaginative courage for an Australian writer to perceive that the life under his nose is the much more interesting material for a book or play — merely because he knows it better.

But Richard Lane... knew... the Australian Theatre has its special problems, its own peculiar pathos of ambition and its perennial nostalgia for the great overseas, its young actors yearning for tn chance to take London, its re-patriates disillusioned by failure abroad, its old pros who lived the life (or say they did) in the theatre of the world, who now find this country an “actor’s grave,” but never leave it.

[4] The play was published in a 1946 collection of radio scripts along with George Farwell's Portrait of a Gentleman, M Eldershaw's The Watch on the Headland, Edmund Barclay's Spoiled Darlings, Great Inheritance by Gwen Meredith, The Path of the Eagle by Catherine Duncan, The Bride of Gospel Place and The Southern Cross by Louis Esson, Conglomerate by Alexander Turner and Santa Claus of Christmas Creek by Ernestine Hill.

The triumphs he claims to have known as a matinee idol in London have ended with the drastic change in English theatrical taste after the war.