What differentiated the Armstrong Circle Theatre from other anthology series was the show’s change in focus after its first few seasons. Initially, Armstrong Circle Theatre presented typical, formula dramas, with little to distinguish it from other anthologies. In 1952 producers decided to change their approach. An advertising agency gathered scripts from all sources, including first-time writers (such as Rod Serling, whose early story “Acquittal” aired in 1952 as “The Sergeant”), and with this agency’s assistance, the producers opted for “quality dramas” that emphasized characterization over pure plot devices. The new stories presented on Armstrong Circle attempted a continuity of mood, theme, and style from production to production without presenting the same type of protagonist in varying situations. Some critics described the stories as sentimental, with a “pleasantly related moral” as their thematic approach. One example of this “family type” dramatic style was “The Rocking Horse” (July 25, 1950), a tender story about a reunion between mother and son.

In 1955, when Armstrong Circle Theatre expanded to one hour, the series continued its emphasis on the story and presented the earliest form of the docudrama (fact-based dramatizations). Executive producer David Susskind and producer Robert Costello de-emphasized the role of actors and made the story the “star.” According to Costello, their aim was “to combine fact and drama—to arouse interest, even controversy, on important and topical subjects.” Using a news story or idea was not enough: the series also had to “be able to present some potential solution, some hope for your citizens to consider, to think about.” Examples of these fact-based dramas include “S.O.S. from the Andrea Doria” (October 16, 1956) and “Lost: $2,000,000” (October 11, 1955), a drama about the effect of Hurricane Diane on the small town of Winsted, Connecticut.

The docudrama format was enhanced by having a news anchor serve as the host/narrator for the program, and for this task, NBC hired news anchorman John Cameron Swayze. When the series switched from NBC to CBS in 1957, Swayze was replaced by CBS news anchor Douglas Edwards. Edwards was subsequently removed by CBS when network executives felt his credibility as a news anchor would be diminished by hosting a non-news program. He was replaced by reporter Ron Cochran, formerly of ABC.

At the time that its format was lengthened to one hour, Armstrong Circle Theatre alternated with Playwrights ’56. Problems arose between the two series because each was sponsored by a different company with different advertising aims. Pontiac, sponsor of Playwrights ’56, wanted a very distinct sales message aimed at a large audience. Armstrong Circle desired strong sponsor identification with its special type of programming. Although Playwrights ’56 produced a number of distinctive dramas, they were not as critically successful as other anthologies. Pontiac considered the ratings for the show too low and withdrew its sponsorship at the end of the season. The next season, Armstrong Circle alternated with The Kaiser Aluminum Hour, also produced by David Susskind’s Talent Associates, Ltd. In 1957 Armstrong Circle Theatre switched to CBS and alternated with The U.S. Steel Hour until the end of its television run.