Why not write Our Own Drama?

Radio Record, Volume IV, Issue 28, 23 January 1931, Page 1

Why not write

Our Own Drama?

Our Conversation with

Mr: 4

J. F.

Montague

~ on | New Zealand Dramatic Talent and how it can be made to solve

The Royalty Problems

"RTO. I disagree," contended Mr. Mon- . ~ " tague when’ we expressed the opinion that radio broadcasting was killing amateur drama. "On the contray, it is bringing to light a great amount of talent, both in authorship and in acting. It is tending. to develop the New Zealand spirit-to make New Zealanders more self-reliant, and to encourage them to do things that were previously left to the outsider. "In these days of seemingly exorbitant royalties we have to do these things ourselves or go without." ' And so the whole subject of plays and royalties was opened. "There are literally dozens of plays that could be put on the air, but the high price that has to be paid for them makes their presentation utterly impossible. Splendid one, two and _ threeact plays they are, too. In England and America, where conditions are somewhat different, the public have grown to appreciate these excellent plays, and they look forward to their presentation. In our country there is no doubt that the listening public appreciate the radio play, but there are factors that greatly restrict the number broadcast." "But isn’t it a fact that a large number of these plays are produced by amateur societies?’ How then, are they not affected by the royalties,’’ we asked.

"Yes, sometimes there are as many as four and five plays produced in Auckland at the same time. These plays are. either free from royalties, like some of those put fver the air, or their producers evade the ayment by changing the name or trusting to their good luck. There is no doubt that a great deal of this dodging goes on. Over the air, of course, there is no opportunity for doing this, even if the inclination were there. We can get over the difficulty by using certain American material, but it is not altogether suitable, and often has to be arranged and altered." "Then there is a definite opening for New Zealand talent?" _ "Exactly. We have had a little, though \not enough... There is enough talent in

this country, but it is dormant or is attracted overseas. We are willing: to produce over the air anything that reaches a sufficiently high standard. Not a little matter reaches us but it cannot be used because the authors forget that the play has to be broadcast. They hide their characters behind curtains, make them change their costumes, have them unfold the plot through facial or body expressions, and sometimes hinge the climax on one of the characters, removing some characteristic such 4s a beard. | "WRITING a play. for the air is a much . different affair from writing one for the stage, but one can often be adapted for the other. Down south there is a society which produces nothing but New Zealand plays, and a high standard has been reached. . I should like to get some of these, as they could probably- be adapted for broadcasting purposes." "You say that people go wrong in not writing a radio play. What would you consider the main elements of such a play?" we questioned. . "In the first place it must be dramatic, Drama is so much easier to: write than humour, for the latter needs brilliant dialogue to make it a success. Some New Zealanders have succeeded, but not many. But there is ample scope for the dramatist. Our history abounds with incidents that can be dramatised-scenes from the

lives of the early Maori, the landings of the explorers, the Maori wars, the lives of the politicians, soldiers, and pioneers, who figured in our early history-all are dear to the New Zealander, and he likes them infinitely more than the imported play. "The plays should be restricted to one act, though two and three are always welcome. It is somewhat difficult to maintain interest over three acts, and a long play must reach a high standard to be successful. "The climax must be dramatic. and forceful. This is essential. The play that just fizzles out is useless for radio purposes. There must be. interest and excitement all the way, and ‘it must culminate in the last few lines... (Concluded on page 2.),

Our Own Drama (Continued from page 1.) "liffects should be made use of, @cenes by the shore, such as Miss Kerr's ‘Deyil’s Rock,’ are. useful on this count. Wind, sea and others ‘of Hature’s noises, laughter and_ street fioises all ‘come over the air well and feighten the effect. Ag for the constructional technique, I should advise anyone. ‘interested to consult the appendix to ‘Hight Modern Plays." The essentials are set out there very well, and will help «those who are interested. I can recommend no better. "Tf those who are interested in the construction of drama would follow English plays and follow them with the seeing eye and hearing ear they would derive untold. help. Too’ many go to the plays or to the talkies, laugh at the obvious jokes, become intrigued with the plot, chatter about the scenery, then promptly forgét everything. They do not look beyond the obvious. They do not: think of the construction. To anyone who: is truly interested in drama these are the bright spots of the whole performance. You will see how an actor will achieve his end, often without saying a word. The situation can be made tense or hilari- ous by his very gestures.

"Of course, many of, these devices are not applicable to the ‘radio drama, but the idea is there. Study plays intelligently and. they will help you immensely. "Now, I think I have atiswered your question. I can summarise my Tremarks by saying: that broadeasting has not killed the amateur.. ‘In'some fields it, has stimulated his efforts, and it has certainly unearthed many amateur playwrights. But they. must write New Zealand drama, and : remember they are doing so for the microphone."