Tonight as David returns to his co-hosting duties with Jack, they discuss all manner of administrivia and launch off with Joshua Price’s opus Kingdom of Darkness episodes one and two from Lightning Bolt Theater of the Mind!
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Tonight the Amigos saddle up as they ride hard through the Old West to bring us Luke Slaughter of Tombstone and “Yankee Pride”.
Tonight Jack is alone at the mike while David is off with the No Sleep Live Podcast tour’s final performances. But he’s not alone while he has Public Domain Universe to keep him company with the twin shows- “Candide” and “Sawyer”. Classic tales live in Audio Drama!
This Saturday night, March 17th, St. Patrick’s Day celebrations kick into high gear as the Jules Verne Phantastical Society presents, Cabaret Absinthe. And evening of fun and frivolity at Maritime Hall in Halifax!
Doors open at 8:00 PM and the fun begins at 8:30 PM. Ticket prices are $12.50 each or two for twenty! Proceeds go to the not-for-profit club! Oh, and there’s a bar for Patty refreshments.
What kind of fun will be had? Funny you should ask? Among the events, the amazing Shadowlands Theatre Players will be presenting another My Friend Irma script for the occasion starring and reprising in their roles with Colleen MacIssac as Jane and Ali House as the unsinkable Irma. Keith Morrison will also be returning as Irma’s no account boy friend Al, and Guy Earle will be rounding up the gang with some new roles for the performance. The show will be recorded live to be played on this year’s Sonic Summerstock Playhouse!
Have fun and go green!
Weird Web Radio brings on audio dramatic master draftsman and actor- Lothar Tuppan to talk about one of his other great passions. His work as a storyteller and Rune Guild Master!
Take some time and listen to our brother Lothar weave magic!
Tonight we complete the exciting Chow for the Koi by Nick Cox but first begin with the new fantasy series Magus Elgar 1- The Mirror Cauldron from Kennedy Phillips. David gives us the latest update to his No Sleep Live Podcast tour. Audio Drama, it’s magic!
Tonight Nick Cox’s modern classic Chow for the Koi is the tank as we continue the eight-part series. David gives us the latest update to his No Sleep Live Podcast tour. Audio Drama, it’s healthy for you!
Tonight Mark Slade’s impressive Blood Noir Episode 4 along with the first two in the series of Chow for the Koi from Nick Cox should keep your audio hunger fed for another week!
The Guardian has a wonderful article about the importance of radio drama in Africa. No other medium is so important for a diverse society. Television and movies still remain within the reach of the relatively wealthy. Storytellers may reign as the most fundamental speakers of tales, but only radio drama has the power to reach masses with the least amount of cost, and the greatest of impact. The theatre of the mind is the most powerful medium of messages (if you ask us) and it’s time to make certain that the word remains loud and strong across this good Earth.
From How Radio Drama is Gradually Fading Away:
For decades, radio stations adopted radio drama across the globe to promote socially-conscious messages among the people such as health issues, anti-corruption, child labour and other campaigns to educate and engage the public. This is because of radio’s capacity to reach a wider audience irrespective of the intellectual background.
The importance of radio drama in the 21st Century cannot be overemphasised, especially in countries where freedom of expression is suppressed, access to technology is expensive or illiteracy rate is high. Radio continues to play an important role in information sharing.
In radio drama, voice is the only impression listeners have of the characters, and it gives the listeners room to imagine and create mental picture of the scenes. Radio programmes often leave lasting impressions more than TV programmes or films can.
According to a baseline survey conducted in 2010 and 2011 in such cities as Abuja, Benin, Ibadan, Ilorin, Kaduna and Zaria by Nigerian Urban Reproductive Health Initiative (NURHI) and Measurement, Learning & Evaluation (MLE) Project, among women, radio is an important source of family planning information. More than 57 per cent of women with knowledge of family planning at baseline received family planning messages through radio campaigns.However, in Nigeria it appears that radio drama is gradually fading out of the airwaves, with live programming dominating most of the broadcast fare, as noted by veteran radio dramatist and broadcaster, Mr. Lindsay Barrett.
The Guardian produced an article asking what was happening in The week in radio and podcasts: Riot Girls; Between the Ears: A Cow a Day.
Miranda Sawyer has problems with much of the dialogue in modern audio dramas. Here’s a snippet of her article:
Radio drama. Oh God. I try, really I do, but so much of it leaves me either rigid with boredom or seething with irritation, madly stomping round the park yelping “No one talks like this!” at the dog. And BBC radio drama is the worst. It’s all so written. Which would be fine, if the writing were taken to a poetic extreme, if the playwrights used rhythm and rhyme and pause and imagery in the way of Harold Pinter or Philip Ridley or Sarah Kane or debbie tucker green. But when you’re listening to something that’s meant to be natural and you can hear the tap-tap of computer keys running through? That’s not good. Plus, it’s not enough to have a neat concept, a contemporary idea to be examined. Journalists have those. Playwrights should take such concepts and ideas and tear them apart, stab them in the stomach, watch them scab over and then pick at the wound. Not just place everybody in sitcom positions and offer us the hilarious consequences.
Gah. Sorry. It’s just I was looking forward to Radio 4’s Riot Girls last week. The tagline reads thus: “Series of no-holds-barred dramas written by women, featuring extraordinary female characters and their lives.” Perhaps an ancient queen, a sporting heroine, a political revolutionary, a working warrior? Perhaps not…
Let’s be positive. The dramatic adaptations of Margaret Atwood’s The Robber Bride and Doris Lessing’s The Good Terrorist (Yes! Revolutionaries!) were fine – though of course the books are far better – but some of the specially commissioned drama was woeful. Which just goes to show that even good writers – and these plays were all written by good writers – struggle with radio plays.
How do you feel about audio dramatic dialogue? Do you think it should be more realistic or heightened in some way?