Broadcast Drama

Radio Record, Volume VI, Issue 2, 22 July 1932, Page 12

Broadcast Drama

Elaborate Plans by the B.B.C. :

A MOST entertaining series of lecturettes has been given from 2YA by Mr. W.' 8S. Wauchop on "Modern British Drama." The impersonation of different characters has given warmth to the talks and "Melponene," a great play-goer and an.admirer of Mr. Wauchop’s delineations, writes as follows :-. -The drama studios of the newlyerected Broadcasting House in London greatly interested OC. B. Purdom, a

dramatic: critic, who was among those invited to inspect the B.B.C.’s palatial new home. His comments on radio drama _ in general are, I consider, sufficiently challenging to justify quotation in full. Mr. Purdom says :- "YT was interested particularly in the drama studios. There are six, specially designed for the purpose, arranged on two floors, with two effects studios in addition. These studios are operated through two dramatic control rooms, so arranged that as many as five other studios-eleven in allcan, if necessary, be used simultaneously for a single production. This means that the players may be spread about the studios, and may perform without »seeing each other, having no idea of the effect they are creating. The synchronisation and blending of the parts are done through the control room. This is mechanising the drama with a vengeance! --- —

"IT saw a play being rehearsed, Hdward Lewis’s version of ‘The Triumph of Youth.’ The producer was seated in a control. room and spoke to the actors from one studio to another, giving them instructions, stopping the performance as he thought fit,, and making. them go over. their parts as often as he thought necessary. There is little personal contact between producer and actor. This obviously is a new technique. The. B.B.C. officials would be the last to say that they have mastered it. Those who listen to broadcast plays know they have not. "T have listened to‘many radio plays. I cannot say.that I have heard one that gave me satisfaction-some hive been worse than others. That is the best that I can say of them. Yet-.I am. convinced that a right way of broadcasting plays. can be found. watched the actors at work. Their very attitudes seemed to me to be wrong. They stood awkwardly, some hanging over the microphone, clutching their script, all appearing out of place and uncomfortable. Surely the producer should start with his actor, | and get him right. "There is no. need for the actor to, pose for the audience; but there must be a right place to stand or sit for the particular actor and the particular part he is playing. And surely the actors must learn their words. Reading is one thing-speech another. Perhaps it is not necessary to learn the words perfectly, for the book can be held in the hand; but no play is convincing when we can detect the actor reading, "My chief complaint, howéver, in respect of broadcast drama concerns the effects. In the new building there

are two studios deyoted to the purpose. Almost everything can be done there, from sinking a ‘ship to.a free fight at a political meeting. I shuddered when I saw these elaborate machines, Aren’t these effects always childish, emphasising the make-believe of the play, and destroying whatever imaginative effect the actors succeed in creating? Iam afraid I think so.: I do not say that there should be no effects at all; but they should be few, and as simple as possible. "We have to remember that a radio dramatist has not yet been discovered. I say that with all respect to the dramatists who have devoted themselves to the work. When he appears, perhaps he will transform the method of production. He will know what he wants, and will get it) But J think it may be a long time before he appears because the rewards of the radio dramatist are meagre. A few pounds is all he can expect for his greatest work."