Clickety-clack, no going back – is the sound of a train headed nowhere at a ferocious speed.  The Harbinger brings a message of hope to the people of Moloch… but the people would rather have fat reductions and televised healings.  The government closes in to reach the only verdict they can even as it becomes clear there’s not much time left.

Part 4 of 5.

Download audio file (rdr-podcast188.mp3)

Download Radio Drama Revival, Episode 188 (MP3)

In the land of Moloch, an outsider comes from another dimension bringing the hope of saving a dying world… Which the Molochians respond to by trying to kill the guy. Luckily, the old beggar Beng is on this guy’s side, even as it becomes clear that there’s not much time left. Parts 2 and 3 of 5.

Download audio file (rdr-podcast187.mp3)
Download Radio Drama Revival – Episode 187 (MP3)

Roger calls it:

A tempestuous black comedy of entangled relationships set against the hunt for a mysterious sea creature. A multi-levelled tale, listeners might also tap into the scores of references to the great symbolist ‘sea creature’ classics: Moby Dick, The Rhyme of the Ancient Mariner, The Tempest and the Leviathan as depicted in the Old Testament.

And gosh, it’s a lot of fun to listen to. See these cool production photos to see how much fun the cast had, too.

Enjoy, “Demons of the Deep.”

Download audio file (rdr-podcast166.mp3)

Radio Drama Revival – Episode 166

At the Etheric Explorers Club, the gentlemen members are confronted with impossible things, and when it can’t all be chocked up to magnetism, their investigation discovers their building’s “Resident Member.”

Enjoy this colonial-esque, curious and comedic tale was written by Paul Marlowe, published in Something Wicked magazine, and produced by Joe Vaz as a Something Wicked podcast.

Followed by an interview with producer Joe Vaz, who talks about how he went from an actor, to a publisher, to a producer, as well as the nature of audio drama in South Africa!

Download audio file (rdr-podcast160.mp3)
Radio Drama Revival – Episode 160

I was behind-the-scenes on this show and got an opportunity to speak with GNAT’s Brian Price, Jerry Stearns, and Kris Markman – you can listen to that interview on episode 130.

So, for the show itself, we don’t hear anything about Haiti, terrorists, or swing votes in the senate.  Instead, we answer the pressing age-old question: What DID the orc get on his SATs?

Download audio file (rdr-podcast157.mp3)

Radio Drama Revival – Episode 157

But, it’s not easy to sneak a fire-breathing dragon by the toy soldier guards, and how to get past the horde of drunk debaucherous elves who stand between our hero and Santa?

Download audio file (rdr-podcast151.mp3)
Radio Drama Revival – Episode 151

Aiding him in this quest is a chain-smoking unicorn and a clutzy fire-breathing animatronic dragon. Good stuff.

This is The Theater of the Midnight Sun and the tale, “Goodbye Cruel World.”

Hat trick goes to listener Martin who originally turned me on to the ‘pod and to The Sonic Society who recently featured this same show.

Download audio file (rdr-podcast150.mp3)
Radio Drama Revival – Episode 150

So, the story? A couple moves from the city to a remote mansion in Ireland, where every spooky story cliche is abused in this hilariously ghoulish half hour. From the Crazy Dog Live collection.

Download audio file (rdr-podcast147.mp3)
Radio Drama Revival – Episode 147

For the time being, Great Northern is being so kind as to allow an MP3 of the show to go out to the ether. So lest you continue to wonder why did the 2nd orc fall off the Tower of Isengard or be stuck, dissastisfied, with a dead tribble, let’s here some “Jokes In Space”!

Download audio file (Jokes_In_Space_MT2009.mp3)
Download the MP3 at Great Northern Audio Theater’s Website. Also check out my interview with them live from CONvergence 2009 (#CVG2009).

Download audio file (rdr-podcast130b.mp3)
Radio Drama Revival – Episode 130, Part 2 of 2

Want more Great Northern? Downloads available on:

• Audible
• Spoken Network
• Echo Fiction
• ZBS

My Two Cents: Jerry Robbins and The Colonial Radio Theater have had the incredibly awesome pleasure of working with Ray Bradbury and their treatment of his work doesn’t disappoint. The Halloween Tree is Bradbury at his imaginative best, and Colonial does a fine job as realizing that imagination in a fantastic audio adventure. This is a worthy listen that won the Silver Ogle Award this year.

If you would, imagine A Nightmare Before Christmas and its richly realized caricature of a Hallowen world, and you’ll have an idea of the kind of job Colonial has done in The Halloween Tree. A group of young kids, dressed in their Halloween best, go searching around a haunted house and find themselves chasing after one of their lost number into a series of more outrageous underworldly locations. The music and sound effects are completely over the top, which is befitting this high-adventure story.

If audio had CGI, this would be it. Luckily, we can do in sound what it takes millions of dollars for computers to do, and have our imaginations tickled more than the movies ever can. Bravo.

We also pick his brain about the experiences at the National Audio Theater Festivals and the joy of recording the natural environment and using it in audio productions.

Download audio file (rdr-podcast127.mp3)
Radio Drama Revival – Episode 127

Also, BIG NEWS!!!

I’m proud to announce that one of my own audio drama works, Waiting for a Window, has won the Gold Ogle award. Hooray!

Knowing that this is the same stage that Roger Gregg has won on multiple occasions, I can’t say how honored and awesome it feels to have won the award. Awards aren’t everything, sure, but it’s nice to know that someone other than me actually thinks my stories are worth listening to.

The Ogle is one of the most prestigious (okay, one of the only!) radio drama awards available and has been won by the likes of Crazy Dog Audio Theater, The Willamette Radio Workshop, AM/FM Theater (The Grist Mill), and the Colonial Radio Theater.

I’m actually be headed out to Minneapolis, Minnesota to collect the award on July 2, and that same day you’ll be hearing an encore presentation of “Waiting for a Window” on the show. Rumor has it I’ll also be helping Great Northern Audio Theater put on their annual Mark Time Award live radio show. Details to come.

Part 2 of my interview with Magic Bullet producer / writer / audio dramatist Alan Stevens picks up where we left off and hits the following topics: knowing when to end stories, the creative potential and individual fulfillment to be had in writing with licensed properties, why Avon and Iago are psychopathic bastards (or are they the same psychopathic bastard?), and of course, Faustian bargains. As in part 1 of this interview, audio clips from Kaldor City are embedded throughout. Additional sound clips from Magic Bullet’s The True History of Faction Paradox audio serial can be found in my overview of that series here.  To go directly to Magic Bullet’s website, click their logo above.

Stevens is a unique voice in the field, and whether you agree with his positions or not, you can’t fault the dedication, quality, or intelligence behind his work. Whether you consider yourself a “genre fan” or “above such things”, if you value good audio drama then you need to read this interview.

CD: So at this point you don’t know what’s up next for Magic Bullet after Faction Paradox concludes?

AS: No idea at all. There might be something else, but, then again, there might not. There might be a huge gap and then something. You get that with my stuff – we did Coming to Dust and The Ship of a Billion Years, followed by this huge gap, and then suddenly we appeared again with Body Politic, Words from Nine Divinities and Ozymandias. Part of the reason for this was that I wasn’t sure how well Faction Paradox was going to sell, and the amount of sales affects the amount of money you have to spend on the series. Faction didn’t sell as well as Kaldor City initially, but then it picked up a lot, and it now sells very well. Sales are good and people like it. However, I still don’t believe you should carry on with a series beyond its natural life, just because the sales are good. I just don’t see the point of going through the motions and carrying on with something, if you think the story’s been told. Does that make sense?

CD: It makes perfect sense. I’ve often had the same feeling, that it’s a shame when stories are exhausted and carried on for pure profit beyond their natural lifespan. So it’s refreshing to hear you say that.

AS: Good. There are TV shows out there that should have ended three years ago, but are still going because the profit margins are good.

CD: I did want to ask about that – in terms of commercial audio drama production (outside of the BBC) Britain’s evolved a peculiar culture distinct from the United States and Germany. In the US, there’s original work, original serials, adaptations of novels and things like that, in Germany there’s a lot of children’s drama and work based on older pulp novels and some original serials, whereas in Britain commercial audio drama seems to be largely defined mostly by spin-offs from mostly defunct British television science fiction. I was wondering, since you’re one of the forces that has put that forward, why do you think the British market has evolved with that emphasis?

AS: In Britain the last drama to have an audience bigger than television on radio was Journey into Space in 1955. When television came along, basically, and audience stopped listening to audio drama and started watching television. I think the reason why Big Finish appeared was because Doctor Who had been off the air for seventeen years and people missed it, and probably many of them had, like me, tape-recorded Doctor Who stories off the television when they were kids, so they were primed for audio. Of course, I’m sure you know that various Doctor Who stories were stupidly wiped by the BBC, and only exist as audios now because they were tape-recorded on first broadcast by fans. And so this culture within fandom for audio developed.

Personally, I wouldn’t produce anything that isn’t in some way connected to an established series, because without a huge advertising budget, I can’t make a big enough impact on people to buy it.  Shall I buy something l know, like Doctor Who or Blake’s 7, or shall I buy something I’ve never heard of before? The fact is that the audio market is mainly aimed at fandoms, as it’s mainly fandoms who are buying audio stuff. And there’s not a lot of ‘original drama,’ if, indeed, there is such a thing, being made because people just won’t buy it. I know people who have produced their own stand alone dramas, and they have generally failed to sell any more than two hundred copies. You might take a chance on buying a film you’ve never seen before, but with audio drama, there’s this barrier now, because people think in TV terms and not radio terms. As for mainstream America, there appears to be virtually no market at all for radio plays.

CD: It’s a small market.

AS: We have a history of radio plays in Britain, but perhaps there wasn’t one in America. Germany, perhaps there was a strong history – I don’t know how well stuff in Germany sells -

CD: It sells pretty well, apparently.

AS: If it’s successful as a new series in its own right, then perhaps there’s a stronger bias toward radio than there is in Britain and certainly in America.

CD: Well, there’s a different audio drama pop culture history to all three countries. In the USA it’s currently mostly original stuff, but it’s probably mostly original stuff that doesn’t sell very well, as you were saying. It’s mostly just the hard-core audio drama fans -

AS: I’ve had people approach me saying I’ve got this great idea for a series – in fact, there’s a friend of mine who I worked with on a series called The Unworthy about a motorcycle gang who were actually the original Knights of the Round Table. It was this black, anarchic comedy, and we even wrote a script. But I’d never produce it as a direct-to-CD product, because I just don’t think it would sell. Not that I think it isn’t any good; I think it’s brilliant. But it hasn’t got that connection there. There are certain stories and characters within Doctor Who and Blake’s 7 that are highly regarded, that people are willing to buy into. But an audio series of Star Cops – would that sell? I don’t know. It hasn’t been on British TV for about twenty years. You have to be very careful choosing what you do, because it can really cost you if it fails, because audio drama is so very expensive.

CD: Especially, I think, to do it on the level that you do.

AS: If you’re going to do something, you’ve got to do it to the best of your ability. I’ve known some producers who have said, I want this out by Christmas, and they’ve rushed to hit that deadline. I think that’s just crazy. At the end of the day, I want to be proud of what I’ve done and not feel we compromised it because we had to get it out for Christmas.

CD: I think that standard is apparent in your productions.

AS: Thank you.

Download audio file (13_Kaldor_City_Clip_8.mp3)

(Robot V23 “talks” to the Chief Fixer in this surreal clip from Kaldor City Story Six: Storm Mine.)

CD: Absolutely. You wrapped up Kaldor City on a metaphysical note. Storm Mine was almost dreamlike, and seemed to appeal to an almost subconscious understanding of the characters rather than the more linear story prior to it. Faction Paradox is teeming with ideas, most of them about time. And yet, in terms of narrative structure the series is actually pretty linear. It mainly follows these two heroines who jump around in time, but once they’re set in their new time zone, they basically progress from start to finish. If there’s one disappointment I would have with the series thus far, it’s that it would be fascinating to hear what a “weapon that can rewrite history” sounds like. Narratively, sonically – these are things Lawrence Miles could surely write, and Alistair Lock could surely realize in sound – they have the skills to do that. There’s a way in which the more advanced ideas about time are never incorporated into the narrative structure – they’re more like trappings or context for the more straightforward drama that plays out.

AS: I can’t really comment, because a lot of the things you’re pointing out here are addressed in the last two episodes.

CD: I’m looking forward to them.

Do you personally have any ambitions to do your own original work in any medium, or do you feel soul-satisfied in pushing these established properties further, I think, than they’ve ever been? This is something I’ve been thinking about over the years, because more and more I’ve come to recognize that a lot of the people who work on established properties are genuine talents. It certainly seems that there are a lot of people feeling very fulfilled doing great work within pre-established universes. Is that the case for you, or do you have the urge to birth a completely original Alan Stevens world?

AS: Kaldor City has the surface elements of The Robots of Death and Blake’s 7, but there’s a lot of other stuff going on in there. New characters, new takes on older characters as they face different situations. Kaldor City was something more than a pastiche of old glories, it was trying to do something different. It was a Magic Bullet – it had a surface coating of Blake’s 7 and The Robots of Death, but the core of it was something else. If I had just done a series without the Blake’s 7 and Doctor Who trappings, then no-one would have bought it. But working within that coating allowed me to say a lot of things and do a lot of things that I wanted to say and do.

You have to sell some CDs or you’re not going to be able to fund the project. If you’re going to do a six-part series, you effectively have to ensure it sells, because it costs thousands and thousands of pounds to produce. If Coming to Dust had just sold two hundred copies there wouldn’t have been any more Faction Paradox CDs after that one, because the finance wouldn’t have been there to do it. So it has to sell.

CD: Between that statement and the work that you’ve done you’ve provided the most compelling argument I’m aware of in the audio drama field for the vitality of working creatively within that coating, as you describe it. On the other hand, I think you would agree that what you do is quite different from taking the safest route: producing work as close as possible to what came before. To really emulate the original shows and their plot lines to the point where you could slot them into a preceding TV season. I’ve never watched Blake’s 7 so I can’t speak to that. But my impression of what you do is that you always push these concepts and characters into new territory, and you inject a literate, intellectual component that isn’t always there in the original source material.

AS: I’m not sure how true that is. Chris Boucher once told me that anyone who tells you they’ve come up with a completely original idea is either a liar, or insane, and probably both. If you look at an episode of anything, you can crack it back to something else. And if you forensically take most stories apart, you can often find some interesting ideas within them. They may not have been consciously put in by the author, but they’re there, and part of the process of analyzing a story is to find those elements and bring them out.

Also, it’s a case of seeing what a writer’s done, how the audience reacted to it, and working with that. For example, one of the things that annoyed the hell out of me concerning Blake’s 7 was the treatment of Avon by certain fans. Yes, there was this setup within the series where the audience frequently didn’t know whether he was doing something for selfish, or for altruistic reasons, but generally, and Paul Darrow, the guy who played him, says this, Avon was a bastard. In fact such a bastard, he shot and killed Blake, the show’s title character. Even the programme’s producers have described Avon as a psycho. And yet, often you’d find articles by people trying to justify his more extreme acts. “Oh well, he may have killed Blake, but Blake should have explained himself more clearly.” So when Iago appeared, also played by Paul Darrow, I didn’t want to fall into the same trap, and so really tried to push the character as far as I could, to make his actions appear shocking. There’s a scene in Hidden Persuaders where Iago tells Blayes that he can get her out of this dangerous situation, but first the hostages will have to be dealt with, as they can identify who she is. He then goes over and shoots them. And they are terrified, and he’s clearly getting a kick out of it.

Download audio file (Kaldor_Clip_9.mp3)

Now, you can understand that sort of behaviour, but you can’t excuse it. Some people say, “I don’t believe Iago is Avon, because Avon wouldn’t do things like that.” Well, I don’t care whether you believe he’s Avon or not, but what I certainly don’t want you doing is looking for excuses to justify murderous and sociopathic behaviour. So when you’re writing, you’re thinking “What did the writers/producers originally intend, where, if at all, did it go wrong, what was the audience reaction, and, if it did go wrong, how can I avoid falling into a similar pit?”

Another idea I like very much is having an authority figure come along and say, “this and that has happened”, where, in fact, no such thing has happened at all. In Occam’s Razor, Carnell comes up with a self serving motivation to explain the Firstmaster killings, but in reality, nobody really knows why Iago went off and killed all those people. And it’s the same for the Shakespearean Iago, why the hell did he behave that way? There are a number of motivations assigned to him in Othello, and he even assigns some to himself, but we don’t really know why he did what he did. Maybe the character didn’t even know himself.

Download audio file (Kaldor_City_Clip_10.mp3)

(Iago tests the limits of Landerchild’s grasp of reality in this philosophical clip from The Prisoner, a short Kaldor City play included on MJTV’s The Actor Speaks 4: Paul Darrow.)

People are very susceptible to being told what to think by authority figures, and that such and such is the current state of affairs, where in fact the real situation is most probably completely different. For instance, I’ve read a number of reviews of Taren Capel, where it’s been stated that, “in this episode Iago discovered that the Tarenists were trying to get hold of a special trigger phrase to activate the killer robots”. But in actual fact, Iago made that up. The trigger phrase existed, but the Tarenists didn’t know anything about it. Iago’s primary intention was to discredit Carnell and get him killed, and he was willing to say anything to achieve that. And yet, because Iago is an ‘authority figure,’ and he has a deep voice and he says all of this, and Uvanov, another ‘authority figure,’ believes him, people think, “well, then it must be true”. But I don’t think it’s true. In fact, I know it isn’t true. I bloody wrote it!

So in Kaldor City there are competing narratives and everything is subverted. A lot of the things you are told are completely wrong. Some of the things Carnell said were lies. And Iago by definition is a liar. Paullus was deluded, and Uvanov was a paranoid, who had various ideas and conspiracies in his mind that were just plain fantasy. They were the architects of their own destruction, because they failed to comprehend what was going on around them, preferring instead to just carry on fighting their own personal and petty little wars. So as with the real world, in Kaldor City we have people who are deluded, people who are fantasists, people who are just plain liars, and people who, for their own various reasons, want to believe them.

CD: Oh, absolutely. The need to believe invented premises, I feel, has been the American story under Bush.

AS: There was an unfortunate coincidence, when Occam’s Razor came out; it had been recorded in 2000, but was released in early September 2001, and the first review I read of it tied 9/11 to a scene where a flyer crashed into a building. There was no way I knew that was going to happen – it was written perhaps seventeen or eighteen months before those events took place. And yet, because I was fishing in the same pool, because we were dealing with terrorism and fanaticism, the story strangely started to mirror things that were happening in real life. It’s weird that, isn’t it? If you think like a terrorist … I think Alan Moore was exploring this in V for Vendetta, when he had this guy, who was trying to get into the mindset of V, taking the same drugs V had been forced to take, and wandering around the same camp where V had been experimented on, so he would start to think like him, and would perhaps know what he was going to do next. It was quite shocking when I realized, “Good grief, we are fishing in the same pool as Bin Laden.”

As for George Bush, there are again parallels with Kaldor City in that people have plans, but these plans usually go horribly wrong. I’m sure in Bush’s head there were a number of very good reasons for invading Iraq, but he’s never going to tell us what they were and the result was a terrible disaster. In Kaldor City, Uvanov would have a plan, and Carnell would have a plan, and Landerchild would have a plan, and in fact everyone would have a plan, and you don’t even know what all the plans were, and then they’d all go horribly wrong. So what you ended up with was a mass of mistakes and errors caused through stupidity and misunderstanding, with no one knowing what the hell was going to happen next. And that’s what life is. Life’s frequently like that for me. I think: “What the hell was that about? Why did I do that?”

Download audio file (Kaldor_City_Clip_11.mp3)

(Uvanov watches his plans, power, and understanding go up in smoke as the ineluctably calm Carnell pursues a cryptic game of chess in this clip from Kaldor City Story Four: Taren Capel.)

CD: (Laughs) That sounds like a sane approach to life… Are there other audio dramatists working today that you particularly admire?

AS: I think Rob Shearman is a very good writer. I think he’s an excellent writer.

CD: I would agree with that.

AS: And Daniel O’Mahony of course, and Jim Smith, and there are also several others I could name. Paul Dale Smith is a very clever chap, and Lawrence Miles is an excellent writer as well. I don’t often agree with Lawrence Miles, I’ve had several arguments with him, but never over his scripts.

CD: You’ve touched on this in your comments already, but could you sum up the state of your business?

AS: I’ve been told by other audio producers that there is a limited shelf life to their products. They produce a story, it comes out, and then after a few months it stops selling and they never sell any more. But I’ve never had that with Kaldor City, or Faction Paradox. They’ve sold solidly. Occam’s Razor came out in 2001 and I’m still selling it.

CD: Is that due to advertising or word of mouth?

AS: It must be word of mouth. Since Doctor Who’s come back it’s very difficult to get advertising anywhere in the Doctor Who media. They’re too busy reviewing the latest Cyberman-Voice-Changer-Helmet to find room for anything else. But it doesn’t seem to make any difference. I think the CDs sells because they’re good, and people recognize that. I’ve certainly been sent some lovely emails over the years, which is all very encouraging. I was expecting a drop in sales when Doctor Who came back on TV, but as Kaldor City and Faction Paradox are clearly spin-offs, then I suppose you have to be in a spin-off frame of mind anyway to buy them, so the return of Doctor Who hasn’t knocked our sales at all. They’ve all sold very well. In fact sales have gone up. I don’t know why. Perhaps it’s my Faustian pact. I have this pact with Satan. He’s the one working on my sales promotion at the moment.

CD: I hope you made your Faustian pact in the tradition of Goethe rather than Marlowe. You know he gets off the hook in Goethe’s version?

AS: That’s right. He gets off the hook through the love of a good woman. I prefer bad women, myself. That’s probably why I’m doing Faction Paradox.

CD: Alan, thanks for talking with me today.

AS: A pleasure.

Well things are more wacky than ever in the sizzling and scandalous interpretation of the myth of Orpheus done by Roger Gregg, The Stuff of Myth.

This great production won a Gold Ogle in 2007 and has gotten rave reviews as a stage play. Now hear what the buzz is all about in the first bonus episode… and stay tuned the rest of the month for more!

Download audio file (rdr-bonus-01-stuff-myth-1.mp3)
Radio Drama Revival Bonus Episode – Stuff of Myth 1 of 4

Not all is as it seems with Ferdia the Druid. Learn what awkwardness and hilarity lurks in the celtic mind!

Download audio file (rdr-podcast121.mp3)
Radio Drama Revival – Episode 121

Off the Audio Gothic collection, which just about finishes this excellent series that I’ve trickled out on Radio Drama Revival for about a year now… The festival of Dionysus continues next week with “The Stuff of Myth!”

Download audio file (rdr-podcast120.mp3)

Radio Drama Revival Episode 120 – Marsyas, the Hippest Satyr

Congratulations to Eric Benson, a listener in Canada who wins our “Name the Theme” contest. He gets a copy of Crazy Dog Live on CD!

Morgan O’Brien hangs in limbo between life and death, and finds the afterlife a much wilder place than he imagined. Confused, frustrated, and alone, he is forced to confront the reality of his actions made while alive. But is there still time to go back and change things?

Download audio file (rdr-podcast116.mp3)
Radio Drama Revival Episode 116 – The Heart of Morphine

Credits

Written, Directed & Produced by Roger Gregg – © 2009.

Performed by the Gaiety School of Acting’s Graduating Class of 2009

The production was recorded at various indoor and outdoor locations in Dublin with sound engineer Lorraine McCarthy. Post-production, mixing etc. at Crazy Dog studios.

The script was written especially to suit the talents of the cast after a short devising workshop process as part of the Gaiety School?s Radio Drama / Acting-in-Audio course.

Music by Roger Gregg with cast members singing, playing guitar, fiddle and harmonica.

Listen up, and don’t miss your opportunity to support local, grassroots, organically raised radio!

Download audio file (rdr-begathon-bonus-3-09.mp3)
Radio Drama Revival Begathon Special Spring 2009

Followed with an interview with its creator, Alan McDonald, from cloudy Glasgow.

Enjoy!

Download audio file (rdr-podcast111.mp3)
Radio Drama Revival – Episode 111

… Or do we meet pixies, a totalitarian state, vampires, petty devils and inappropriate angels?

Welcome to the world of Afterlives, a hilarious Dante-esque misadventure through the many mythologies of the after-place, wherever that may be. In this week’s episode, the unfortunate protagonist learns of his untimely demise and has to try and make sense of it while escaping from slave pits and ending right up in the pits of hell. ?Oh, and yeah, it gets better.

Download audio file (rdr-podcast110.mp3)

Radio Drama Revival – Episode 110

In this episode, mid-way through the first season, one of our angel protagonists is forced with making a choice only God should have to make…

Download audio file (rdr-podcast108.mp3)
Radio Drama Revival – Episode 108

BONUS: Here about the upcoming double-bonus episode and Christmas spectacular! And don’t forget to load up an mp3 player full of Radio Drama Revival for Christmas!

Download audio file (rdr-podcast101.mp3)
Radio Drama Revival – Episode 101

Hear the story hear first, then buy it second! Available for download only on Echo Fiction.

Download audio file (rdr-podcast089.mp3)

Radio Drama Revival – Episode 89

Produced by yours truly, the show today features monologues and short sketches recorded around Portland, Maine featuring oddball characters that might just be from Portland, Maine. If you like what you hear, make it up this way for their shows October 27 and November 3rd at the Freeport Cabaret!

Download audio file (rdr-podcast088.mp3)
Radio Drama Revival – Episode 88

Well, folks, it’s with great pleasure that I bring back my own FinalRune Productions to the show with an encore presentation of the wacktastic comedy, “Tales from Williamsville.” How do one repressed arsonist, a sexually-charged geriatric, a slimy drug dealer and a soccer mom on steroids combine in the most exciting thing to happen in Williamsville since 1936?

Also, a special bonus, a preview of FinalRune’s next tale, “Waiting for a Window,” due to debut on Radio Drama Revival! on September 25.

Download audio file (rdr-podcast085.mp3)

Radio Drama Revival – Episode 85

Download audio file (window-preview.mp3)

Sneak Preview of “Waiting for a Window”

Plus we get the pleasure of speaking with David Witz, the “man behind the curtain” for this show, and tickle our ears with a special, pre-release copy of the first episode of the upcoming Martha and Dotty: Microwave Mambo.

Enjoy.

Download audio file (rdr-podcast078.mp3)

Radio Drama Revival! Episode 78

P.S. Sorry about the audio quality on the first interview. My trustworthy Zoom H2 seems to have started becoming temperamental.

Download audio file (rdr-podcast077.mp3)

Radio Drama Revival! Episode 77

P.S… light up a sparkler in the name of radio drama tonight

Enjoy this laugh-out-loud soap opera lampoon!

Download audio file (rdr-podcast076.mp3)

Radio Drama Revival! Episode 76

Download audio file (rdr-podcast074.mp3)

Radio Drama Revival – Episode 74

Fawlty Towers

Download audio file (rdr-podcast073.mp3)

Radio Drama Revival – Episode 73

Sandwiched between two, er, “knock-out” episodes is an interview with the warped creators of the show.

Enjoy!

Download audio file (rdr-podcast062.mp3)

Radio Drama Revival – Episode 62

So it’s with great pleasure that we welcome Decoder Ring Theatre to the show, with an incredibly unconventional episode of The Red Panda.

Following the story of a Christmas eve under assault by some of Toronto’s lowlifes is a chat with Gregg Taylor himself, who has plenty of wit and passion to share about the art and his craft.

Fill yourself up a big glass of eggnog and open your ears up for this one!

Download audio file (rdr-podcast049.mp3)

Radio Drama Revival – Episode 49

Download audio file (rdr-podcast027.mp3)
Episode 27: Tales from Williamsville

Why does the band usurped for the War of the Worlds broadcast still get together for their anniversaries? What does the trombone player of this band know about Martians that no one else believes? And what’s the matter with googly eyes? Find out in this hilarious sci-fi romp through self-reflective radio drama-dom.

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Radio Drama Revival – Episode 13

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Radio Drama Revival – Episode 11

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Radio Drama Revival! Episode 7