Category: Media (Page 10 of 45)

Theater review: Coach House opens 90th season with vintage Christie radio dramas

From Ohio.com:

Coming next: Radio drama Butter in a Lordly Dish

Where: Coach House Theatre at the Akron Woman’s City Club, 732 W. Exchange St.

When: 7 p.m. Thursday-Saturday, 1 p.m. matinee Sept. 23

Cost: $10 for show only, $35 for dinner and show

Information: www.coachhousetheatre.com/shows/118/ for Brown Paper Tickets order or call 330-434-7741

The live Agatha Christie radio play Yellow Iris made for a fun vintage evening as the drama played out in the elegant, wood-paneled ballroom of the Akron Woman’s City Club on Thursday night.

Yellow Iris was the second of three radio plays to be performed live over three weeks to open the 90th season for Coach House Theatre. The plays, directed by three young female directors, are classic 1940s BBC radio mysteries that were believed to have been lost.

Coach House now has the distinction of being the first nonprofit theater in the world to present the three plays, together called Murder in the Studio. And it’s the second theater, after a professional 2013 production in Clearwater, Fla., to perform the scripts live since their rediscovery in the archives of a London library.

The beautiful ballroom setting is a nice change of pace for the performances, which can be coupled with dinner or seen on a show-only basis. New artistic director JT Buck’s goal is to strengthen the partnership between the community theater and its parent organization, the Akron Woman’s City Club, as well as celebrate a longstanding tradition of producing Christie plays at the theater.

On Thursday night, those who came for the show only had some awkward seating choices, with chairs lined up against the side walls of the ballroom and dining tables in the middle. That left some obstructed seating and some hovering behind dining tables. Open tables left in the ballroom provided much more comfortable seating with good sight lines.

Yellow Iris, directed by Francine Parr of Akron’s Millennial Theatre Project, featured five actors bringing to life an enjoyable murder mystery with detective Hercule Poirot. The actors, dressed in vintage-looking skirts, jackets, suits and hats, walked around and mingled with the diners a bit before the show’s start.

One of the beauties of presenting a radio show, in this case, was that middle-aged actresses could portray young women. They included Michele McNeal as the sultry, deep-voiced Peruvian dancer Senora Valdez and Cathy Csanyi as the 20-year-old Pauline Weatherby.

Joining them were Ryan Dyke as Poirot, a strong actor with a good French accent; Molly Clay playing a waiter and Tony; and Luke Ehlert as party host Barton as well as his friend, Carter. The actors held their scripts and spoke into a stand-up microphone just as they would have in a 1940s radio show.

In this story, the American Barton has arranged a dinner party at the hotel Jardin des Cygnes under mysterious circumstances. A woman calls Poirot in distress and asks him to come help her, but doesn’t identify herself.

Detective Poirot shows up determined to get to the bottom of things, and with his sixth sense, starts sniffing out clues. The tension mounts heading into what appears to be a re-enactment of a tragic event four years earlier.

Most of the five actors created distinct characterizations, but it was at times difficult to determine whether Ehlert was delivering the lines of Barton or Carter, which created a temporary disconnect following the story elements. Csanyi also was guilty of speaking with unnatural-sounding inflection and sounding artificial when her character Pauline was distressed.

Adding to the old-fashioned ambience were Chalker Conrad’s live radio sound effects, including a ringing bell, phone and some drums. And Buck himself played the grand piano and sang a bit during lovely musical interludes.

Buck has created a fun concept, kicking off the season in this style at the club, starting with Miranda Dolson’s direction of Personal Call last weekend. The run will wrap up Thursday through Sept. 23 with the third radio drama, Butter in a Lordly Dish, directed by Rosilyn Jentner. In this story, prosecution barrister Sir Luke Enderby gets his comeuppance in gruesome Christie murder.

Arts writer Kerry Clawson may be reached at 330-996-3527 or kclawson@thebeaconjournal.com.

AI AD

The BBC is taking a step back to make a splash in the audio drama world. Check out this article in The Verge about new interactive audio dramas:

The BBC is known for producing radio plays, but the format is about to get a high-tech twist: a new experiment by the broadcasting company will turn traditional audio dramas into interactive stories.

One new radio play — a comedy / science fiction story titled The Inspection Chamber — will work similarly to a choose your own adventure book or game. Listeners will hear a chunk of the story, and then be presented with a choice of what should happen next. It was developed by the BBC’s R&D division, which worked with an audio company called Rosina Sound. The piece is said to take inspiration from games like The Stanley Parable and Papa Sangre, especially in terms of exploring new ways to offer interactive fiction. You can listen to some of it now over at the BBC’s R&D blog.

The BBC says it has developed a “story engine” that makes it easy to release the same story on multiple platforms, so The Inspection Chamber will be available on both Amazon Alexa and Google Home devices when it releases later this year. The company is also exploring the possibility of expanding to Cortana smart speakers or Apple’s HomePod when those devices are released.

 

Futuredrama

FUTURAMA, Leela, Bender, Fry, 1999-present. TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.

If you’re a huge fan of Futurama and of course we already know you’re a fan of audio drama you’re in for a massive treat. The iconic cartoon from Matt Groaning and David X. Cohen is returning! For a single episode on The Nerdist Podcast Frye, Bender, Leela, the Professor, Zoidberg, Amy, Hermes and the gang will all be coming back into the world of audio! Entertainment Weekly gives us all the details of the incredible return with a forty minute audio extravaganza on September 14th! Set your time capsules for the future! Heck, you don’t even need to wait until New Year’s Eve!

Mouthwatering Tips

The incredible Tanja Milojevic from Lightning Theater of the Mind passed on this gem of acting tips. Gravy for the Brain provides for the voice actor anything they need to know in Secrets of Preventing Mouth Clicks:

This article aims to help voiceover artists with the much-complained-about problem of mouth clicks on voiceover recordings.

People think that mouth clicks are the same as having bad looks – you just have to deal with them. But it’s not true! Very, very few people have physiological problems which affect their mouth noise. The vast majority of people are just not doing it right!

You can edit mouth clicks from voiceover recordings after the event quite easily once you know how, but this is time-consuming and a pain in one’s posterior.

So, I’m going to show you how to get rid of mouth clicks, once and for all.

 

What are Mouth Clicks?

Mouth clicks are often referred to as clicky mouth, dry mouth or mouth noise in the voiceover industry. They can occur for a number of different reasons. They are also incredibly off-putting.

Having bad mouth clicks can stop you getting hired at auditions and can most definitely stop you getting re-hired.

“I myself have even re-recorded an entire 5-hour session with a new voiceover artist …because the original lady was too noisy. It would have cost us more to edit her than to pay another VO. That’s the detrimental effect mouth clicks can have. “

 

Mouth-clicks sounds like little clicks or pops that are during, before or after speech. Almost all human beings have some kind of mouth noise when they talk. It’s caused by the tongue, teeth and saliva creating little bubbles, clicks and pops as the speech is made.

Normally when we talk to people we don’t hear their mouth clicks, unless they are exceptionally prevalent or they are very dehydrated (usually hungover)! Our ears tend to filter out the little clicks that we do hear as irrelevant.

 

Paying Attention to Dehydration

Typically, smokers of 200 Marlboro’s a day are more clicky than others, but then so are those who drink a lot of coffee in the mornings. Again, this is all down to being dehydrated; both cigarettes and caffeine are diuretics, meaning that they effectively sap the water from your body!

In point of fact, the reason that being dehydrated makes you clicky is that your natural saliva is less wet. => Less water in the mouth means your mouth is drier and stickier. => Sticky saliva means mouth clicks.

So that’s being dehydrated. But it’s not all just about dehydration. Ironically though:

 

Being Over-Hydrated Can Also Cause Lots of Mouth Clicks!

How unfair!!!

Of course, this isn’t actually true, but it isn’t as silly as it sounds. Voiceover artists who are dehydrated tend to gulp down as much water as they can in a short space of time. Having lots of water in the mouth is going to make the action of the tongue just as likely to make mouth noises as a sticky mouth. 

 

 

If We Don’t Normally Hear Mouth Clicks in Speech, Why Do We Hear It On Recordings?

Answer?

Mouth clicks are emphasised as part of the recording & post-production process.

The audio signal is recorded and then the post-production process of compression is applied to the voiceover recording.

“Compression effectively reduces the ratio between the loudest parts of the speech waveform and the quietest parts of the speech waveform. You can think of compression like putting the waveform in a vice and squashing the loudest bits closer to the quietest bits.”

This has an interesting net effect: the overall volume becomes quieter so you need to turn it up for it to be as audible as it was when you delivered it into the mic. (Normally done either through volume increase or normalisation)

(It’s imperative to understand here, that all vocal recordings must be compressed or they cannot be mixed with any other audio. So before you say it, no you can’t miss out the compression step!)

 

Confused? Ok, let’s use pictures to help!

Take a look at this image of a speech waveform with a click in it (highlighted in white) before compression is applied:

Dialogue Waveform Raw with No Edits but with Mouth Clicks

 

Now take a look at it after compression – the click is the same size, the rest of the waveform is ‘smaller’:

Dialogue Waveform Compressed with Mouth Clicks

And finally let’s turn the whole waveform back up to the same audible level:

Dialogue Waveform Compressed & Normalised with Mouth Clicks

You can clearly see that the mouth click is now much louder than it was before, relative to the original recording. Not only have we raised up the noise floor with compression, we’ve made the mouth clicks louder too.

Rats!

 

So the Voiceover Recording and Post-Production Process is Making Mouth Clicks Worse?

Yep – that’s right.

So now you know that in advance, it makes sense to try and eradicate the problem at source. For every mouth click you accidentally perform, you will end up with a much louder and more audible mouth click on the finished recording.

“Yes, you can edit out mouth clicks after the event, but it’s a pain in the arse and time-consuming – so get it right at source!”

Ok, well that’s all well and good, but how do we get it right during the recording process??

 

Step 1 – Make Sure You’re Properly Hydrated Before The Session

Why? As I’ve mentioned before…

Lack of hydration = less water in the mouth = sticky saliva = mouth clicks.

The problem with hydration though, is that the body can only take in water at a certain rate. Downing two litres of water 10 minutes before a session is of no use whatsoever. Your body will not have enough time to distribute this evenly around the body and into the mouth consistently. The result of this is that you have too much water in your mouth as you’re always drinking to catch up. Alas, then, you are still dehydrated at the start of the session.

The secret is that you need to start hydrating at least two hours before your session starts. Take in enough water to make sure that you are properly hydrated.

Water – The Giver of Life! (And Click-Free Recordings)

I had a chap say to me in our Elite Voiceover Mentoring Program recently that he was confused, because he regularly drank two litres but was still dehydrated. It turns out he was drinking two litres of Coca-Cola. Which is a diuretic, so of course…he would stay dehydrated.

When we talk about hydration – we mean water – water is all you need.

Being properly hydrated not only means that you won’t have as clicky a delivery but it also means that you are protecting your vocal cords. Your vocal cords are two pieces of vibrating mucous membrane that vibrate and rub together at high-speed. If your mucous levels go down (due to dehydration) the cords cause more friction when they rub together and you end up with a sore throat. Your voice will get deeper and more gravelly.

Cue George Best on any given morning….

So avoid any diuretics – coffee, caffeine, Coke, dairy, tea, Red Bull and so on – and just drink water.

Incidentally, if you have an early morning session, it’s important to start your hydration the night before as we lose a lot of water when we are sleeping. Proof of this is the fact that we always need a wee in the morning. If you have an early morning session and are dehydrated, the chances are you won’t have enough time to hydrate fully before the session. On my long-form projects, we start at 9am and so hydration the previous night is drilled into my voice-artists!

 

Step 2 – Sort Out Your Placement and Projection

Your distance to the microphone and how loud you project are key components in fighting the mouth-noise battle.

If you consider then the extreme example of me shouting at you from 30 feet away, the relative balance between the volume of my dialogue to my mouth noise is going to be huge. You will never hear my mouth clicks. Delivering dialogue louder does not increase mouth noise as well, as mouth noise is just the tongue, saliva and teeth working together.

Likewise, if I put my mouth next to your ear and whisper to you, you are much, much more likely to hear my mouth clicks.

No matter how loud you shout, or how soft you whisper, the mouth noise and clicks will remain the same volume…

 

Both Position and Projection are Linked

This is replicated in the same way in front of a microphone. We have to control the input gain (input recording level) so that you are recording at a nice, appropriate level which isn’t too quiet/loud and isn’t clipping.

If you are close to the mic (say 3 inches) and whispering, you will need to turn up the input gain to record at a suitable level. Therefore, the dialogue is quiet, and the noise floor and your mouth noises are louder, comparatively.

If you are further away from the mic (say 7-8 inches, use a ruler, don’t ask your husband) and projecting slightly louder than normal speech, you will need to turn the input gain down. Therefore, the dialogue is nice and loud and the noise floor and your mouth clicks are quieter, comparatively.

So the headline here is – back off the mic, and project more = less mouth noise.

Incidentally, if you are wanting to do that close-up and personal style of bass-proximity effect commercial recording – you just have to deal with the fact that you will have more post-production editing to do to remove the mouth clicks – simple as that – you’ve just got a nice rich, bassy, commercial sound – you can’t have your cake and eat it!!

 

Step 3 – Sip During Sessions

Is this Hugh banging on about hydration…again???

Yes, I’m afraid it is. You see, most voice artists forget that while you are speaking during a voiceover session, you are dehydrating. The more you talk the more you’re using your vocal cords, the more your saliva-mucus-balance is reducing, and the more clicky you will become.

“It’s perfectly normal for a voice artist to come into the booth, click-free only to sound like she’s eating space-dust 45 minutes later.”

if you remember, I said that the body can only take in water at a certain rate. You’ve done all the good work in hydrating yourself before the session and now you’re dehydrating. You need to keep up with the water drinking throughout.

This…is the mark of a pro. I’m always terribly pleased when I see a VO come to a session armed with a bottle of water. I’m also disappointed when they aren’t.

 

A Bottle a Day Keeps the Voice Director at Bay

So, constant sipping of water is essential – I usually get my VO’s to sip a little every 10-15 lines or so. Yes, you will be on the toilet in every single break, but you will be re-hired because your voice sounds delicious.

If you don’t do this – especially in modern air-conditioned studios – clickyness will ensue! You have been warned!

Just remember though:

  • Sip the water
  • Wash it around your mouth
  • Properly swallow the water – otherwise, you will be clicky from too much water in the mouth!

 

Step 4 – Forget the Green Apple Myth!

Ok, so look, everyone knows that if you eat half a green apple, your clicky-mouth will cease almost instantly. In fact, this works with anything that has that sharp, citric acid. This cleans through the mouth and eradicates the nasty, clicky, dehydrated saliva.

But…I am here to tell you that:

  1. Eating green apples to stop clicky mouth is a temporary fix only. It never lasts more than five or ten minutes before the clicks are back
  2. Eating green apples is a last resort and most certainly isn’t a substitute for steps 1-3.

 

You want headlines? I got headlines – concentrate on steps 1-3 and you won’t need green apples.

Dirk Spielberg

I think I’ve been saying this for some years now, and most recently in the Bill Hollweg Retrospective but Dirk Maggs is to the audio drama medium as Steven Spielberg is to movies. Master of the Film Source of the modern audio drama movement, Mr. Maggs has been working tirelessly producing action adventure audio for many years now.

So naturally Audible Range asked the question Who is this Dirk Maggs and why does he rule so hard? Because one of the wonderful things about Audio Drama is it keeps getting rediscovered again and again!

Dirk speaks about his experiences with audio drama and his new X-Files release. Check out the interview, and if you want to hear the man himself as he abides, check out our interview Maggsnifiscent Audio.

Old School Broadcast

While not exactly electronic or even electric, the Mystery of Greek Amphitheater’s Amazing Sound Finally Solved according to live science. Every good audiomaturge (yes, it’s now a word) understands the importance of making the best opportunity of your sound waves. The Greeks weren’t just experts in warfare, but also sonic tactics through the use of “audio traps”. The corrugations of the seats are part of the key. We always knew that we have created our audio works on the backs of giants, it’s not often that we’re reminded that they were some of the greatest myth makers too!

Sharpen Your Pens, Shake the Dust out of your Microphones

Wired recently wrote an article entitled: Where is Hollywood Looking for its Next Hit? Podcasts.

From the article:

Like books, podcasts prove that a story works, that listeners like it and will keep coming back to follow it. More importantly, podcasts can prove an idea’s viability at a fraction of the cost of producing a TV pilot. “It’s essentially a prototype of a produced franchise,” says Chris Giliberti, the head of multi-platform efforts at podcast company Gimlet Media. “In Silicon Valley terms, this is an MVP.” And in the past year, TV producers have started to recognize podcasts’ value. Amazon announced last fall that Gale Anne Hurd, who helped transform The Walking Dead from a beloved comics series into a beloved TV series, would be adapting the horror show Lore for the streaming service. ABC is already working on Zach Braff’s Alex, Inc., an adaptation of tech industry podcast StartUp. And now, Mr. Robot creator Sam Esmail is adapting Gimlet’s Homecoming for Amazon, starring Julia Roberts.

For a long time now we’ve been arguing that a good audio drama is a great idea to sell to Hollywood. It’s a fraction of the cost with the entire story in tact. Nice to see that others are getting the same idea.

Slate Magazine and the Third Wave of Modern Audio Drama

Slate Magazine recently wrote an article The Renaissance of the Humble Radio Drama in which they described this strange medium that everyone thought dead long ago is still alive… and thriving?

The author Angelica Cabral writes “Radio dramas may seem like a thing of the past, but they’re still a great way to tell stories.”

We’re almost through two decades and three waves into the modern audio drama wave. How many times have we seen the same article published? Still, any news is good news, and after sending up fireworks in the air for so many years, perhaps the great train of the Internet media is finally starting to notice the display.

Have a look see at which shows are mentioned and see if you agree with their assessment.

 

Edict Zero Gets Some Ink!

Say Edict Zero in the Audio Drama Production Podcast and everyone drinks. This perennial favourite of the audio drama community is becoming more popular outside of the community as well. And it’s good news. Unlike so many of the other darlings that have more in common with youtube confessionals than traditional audio drama, Edict Zero relies on strong characters and developed plots. Recently in Working the Galaxy a detailed interview with Jack Kincaid, Russell Gold, and James Keller shed light on this modern audio drama classic.

Scholastically Sonic

Craig Robotham is amazing. There I said it. A tireless educator, writer, and audio drama lover, Craig has built an impressive collection of dinner theatre audio drama you can host in your own home at Weird World Studios. But that’s not enough, Craig’s assembled a list of supplements and guides to help any educator neophyte in this amazing medium.

Check out his Education List and get ready for the Fall!

« Older posts Newer posts »

© 2026 The Sonic Society

Theme by Anders NorenUp ↑