All right, well, welcome to the live Audio Theater Central podcast. We'll
kick things off here in just a moment. But this is not how we
normally produce this show. We edit and we have lots of time to fix
mistakes. Well, we're gonna do this as well as we can, and
pray that my voice holds out because I've been having some issues with it today.
But I'm gonna get this rolling and hope you enjoy. We're gonna have
a couple of guests here in a moment, but we're gonna just run through
the full episode here, So Greg and now Audio Theater Central. Hello,
Welcome to Audio Theater Central. This is the show that explores family friendly audio
drama through news, reviews and interviews. I'm your host, J D.
Setter. This is episode one hundred and ninety three, Live at Sonicon twenty
twenty three. Make some noise, Yeah, Well, joining me is a
ATC contributor Austin Peachee. Hello, Hello, it's great to be here.
We're going to be having an interview with actors Andy Harvey and Daniel Cross here
momentarily. We've got some feedback coming up from Blake. If we haven't enough
time to get to that, but before we do that, we're going to
jump into some audio drama updates water up this program to bring you a special
report and in other news tonight, a brief look at the headlines. Now
they want exciting, fast piece news that's relevant and entertaining like this. Ardaban
and the Quest for the King from Markeywitz audio Works is coming very soon.
It'll be premiering on YouTube on Sunday, December seventeenth. It's a sixty five
minute production. It'll also be coming to Dramafy, Amazon, Apple, et
cetera. The summary is upon his return home from the battlefields of Europe in
nineteen eighteen, Colonel Blackwood, a UK Army infantry officer, is reunited with
his family on Christmas Eve after nearly four years. In the midst of telling
his children a bedtime story, where we learn of Ardibon, a magi priest
and the fourth wise Man to present gifts to the newborn King. As a
result of dissension among his fellow magians, Ardebon has no other choice but to
embark on this journey alone, though his quest is fraught with challenges along the
wait to test his courage and stir his compassion, his faith never waivers.
In the cast are some of the familiar actress that we've heard of and we've
talked about here on the show in the past. Bethany Baldwin, Caleb Bresler,
Alicia Hanson, Glenn Haskell, Rachel Pulliam, and Jonathan Cook and Glenn
Haskell's First Acts Productions has two new Christmas Audi dramas this year. First one,
Dragnet Delivers Delivery Day release on November tenth. Summary for that follow two
detectives looking for facts on the birth of a baby in Bethlehem, meet those
who met the baby long for his arrival and were anxious to be near him.
The second one, Chris Is Carol of Bennington Falls, which released on
November twenty fourth. Both are exclusive to Drama PI, and there's another one
already in production for next year called Christmas at the Canteen. New Birth Audio
Productions announced its inaugural audio drama release titled Reckoning of Cowards. This is the
first story in the Bayou Noir series, written by Darby Kern and Micah Touchet.
The summary for that is Southern Louisiana, nineteen fifty four. Three men
lie dead in a diner. What's behind it lies power, corruption. Who
is behind it? That's for Sheriff of Noble Vincent to find out. But
he's got secrets of his own, the kind that doesn't just cost a man's
job, it may cost his life. Pre Production has begun with an expected
release date of early twenty twenty four. The first Christmas special of the Human
Eels series from Dominion Artists, creator of Nick Guy Private Eye, has been
released. It's titled Peace on Earth, Goodwill Toward Men and is available on
Apple Music and Amazon Music. The summary is it's Christmas time in Megoboless City
and peace and goodwill is shared by everyone until a disgruntled salesman sets up to
disrupt the spirit of the whole season. But it's through this that the sitents
of Migobless City learned the true meaning of the angelic proclamation Glory to God in
the Highest and on Earth, Peace Goodwill toward Men. Season two of Veggie
Tales Very Veggie Silly Stories kicked off with its first episode titled Everyday Kindness,
which dropped on November two. Your Story Hour has released Exciting Events Volume fourteen
six new episodes, including According to the website, two exciting stories about explore
missionary David Livingstone, two historical stories about children in the eighteen hundreds in the
United States, and two true to life stories about music and acts of kindness,
and one that I'm rather excited about. And we're announcing for the first
time ever publicly, Greenhorn Tales Season two is in the works. Scripts are
being written now. Had a meeting with the writers not too long ago and
we kind of mapped out what we wanted to do with season two, and
no time frame yet on those releases, but ten new episodes will likely be
coming very soon in hopefully twenty twenty four, and Audis fans can look forward
to his very special event next year. The Adventures of Odyssey team has announced
a two day event to celebrate their one thousandth episode next year. It's called
One Grand Party and will take place at the Focus on the Family headquarters in
Chlora Springs on August second and third, twenty twenty four. More info will
be coming as available at the event website One Grand Party dot com. And
lastly, there's a new podcast in the fan community, a spinoff of Odyssey
Geek, hosted by mister Austin Peachee here. It's called a Walk through Wildwood
and it's a fan podcast about Pause and Tales. If you haven't heard,
they are starting production or have started production on new episodes for the first time
in several years. And so Austin Peache and Michael L. Favor are going
to be reviewing the series episode by episode. How many episodes are out so
far? I believe four four and it's it's I mean, that show is
a lot of fun. Yes, it is geared towards a younger audience,
but it's it's really fun to I mean, the team behind it is so
good that it's just fun for all ages, I think. So it's it's
great to have Austin branching out and doing some other podcasting, which it started
as Honesty Geek what was they? So that's something to look forward to.
Just say your name and the role you're playing in this production. Please excuse
me, excuse me, the local news station would like to talk to you.
Oh, here's a couple of me play right, I'm here to ask
you a couple of questions. Well, we are really excited to have a
couple of wonderful guests with us tonight, very very talented actors. You've you've
heard some of their material throughout the day already in different things, and so
you'll be hearing from them more as this weekend progresses. But first off,
actor Daniel Cross, Yeah, yeah, yeah, and actor Andy Harvey.
Thank you so much, gentlemen for joining us. This is gonna be a
lot of fun. I think, thank you for having us. Thank you
for having us. Daniel's not near as thankful as I am. I'm paying
attention, I promise. So in a few minutes, we're gonna do something
really fun. If you were here in twenty twenty one, we did something
very similar with a couple of actors. We're gonna throw a couple of scripts
that they've never seen before and let them do some cold reads and give you
a chance to see their process of how they develop a voice for a character.
And so again, this is totally off the cuff. They've never seen
these before, so anything could happen. But we're gonna have fun with it.
But before we do that, you mean, these guys have been working
on lots of projects that you've heard of, like Lamplader Theater, Pirateeers for
Daniel and Witnesses, the Adventum, the watch and Andy's been in Lamplader Theater
is the Hidden Hand and dashed to pieces and witnesses and stuff for LRT Media
that is still to come. Just just some amazing stuff. And if you
haven't heard of these guys, definitely want to check out their work because they're
they're amazing at what they do. For sure. Thank you, thank you.
Well let's start with you. Daniel, tell us a little bit about
your work portraying Colonel George Washington at Colonial Williamsborg. I've never been there,
so I don't know exactly how that is. This is like a live improv
kind of theater where you're in character all the time, or do you have
scripted lines at all? Or Andy who plays the fife for me? Incapacity
that idea? Yeah no, yeah, So I work at Colonoway's work full
time as my day gig, my survival job, as one might call it.
It is a large historic area, one of the largest, in fact
the largest museum in the country. It's open air to a mile long historic
area from stem to stern, incorporates eighty nine original buildings and hundreds of reconstructions.
It's the site in the location where the first call for the Continental Congress
in seventeen seventy four comes out of It's where George Washington, Thomas Jefferson,
Patrick Henry all cut their teeth in government, spend a great deal of time
and their younger days kind of figuring out who they were as people. And
so it's the epicenter of the original aspects of Virginia's involvement in what becomes the
American Revolutionary movement. And so that's what I spend my time doing. So
as Washington, I play the younger Washington in case you didn't know. But
for those who didn't know, I was just waving the non existent hair that
I don't have. I assume you, yes, I do wear a wig.
Washington did not wear a wig. He was not bald like I am,
but didn't have any teeth. So ha ha, I got you there,
George. But yeah. So I portray Washington mostly in the seventeen fifties,
which is the Seven Years War, which most folks don't know about.
I dive into that aspect of his life. I'm now moving forward in time
as we come up to the two hundred and fifty, the anniversary of a
lot of these events in seventy four to seventy five seventy six, and so
I research the character, I develop the programming, I write the programming,
improvise as well. So a lot of stuff I do is I'll just be
on the street talking to folks answering any questions they have about Washington in character
as Washington. I also do audiences where I sit and talk for twenty minutes
or so and then answer questions with the audience. And then I write fourth
wall scenes that are performed varying topics ranging from farming to the institution of slavery
to post traumatic stress in soldiers and civilians of the eighteenth century. The goal
that we have that I'm tasked with is recreating the psychology of the human so
that we aren't looking at the dates, the names, the marble statues,
the deified figure or the demonized figure, but the human being behind it,
what motivates them, the good, the bad, and there's plenty of both.
And then to through that bring education to individual folks about how they can
learn from those individuals from the past. So, yeah, you know,
that's just that. And so has that informed the way you approach a character
for voiceover? Yeah, it has ironically enough, it's actually at times been
a challenge because from from a development perspective, it's been great. You know,
when you get to research an individual's life. There I spend probably probably
forty percent of my week researching from his original documentations, so ninety percent of
that research is his letters, et cetera. So you start picking up his
syntax, his patterns of speech. The downside where it's been for me in
voice is that I spend forty hours of my week pretending to be somebody else.
It's the same person, and I've been doing it for six years,
and so it's actually hard for me to break out of that character. Yeah,
and be not just other characters, but even be myself because I spend
so much time. It's like the worst, the worst Broadway play I've ever
seen. Instead of going on for three months, it runs for ever.
And so that's actually been a challenge, a good challenge, but it's something
that I've been very and have to be very cognizant of to try to snap
out of those things. But as far as like developing a character from stem
to Stern, you know, you've got incredible depth of knowledge with somebody like
him. In fact, it's oftentimes challenging because you have too much information to
kind of bring all these different aspects, and there's always something new that you're
gonna find, you know, depression, joys, sorrows. You know what
happens. The guy raises his wife's one of her only daughter that survives into
almost adulthood since she was two, Patsy Washington, and then watches her entire
life as she suffers with epilepsy, which is untreatable in the eighteenth century,
and then ultimately ends up being there. When I say being there, I
mean her in his arms. She dies of an epileptic seizure the year before
the Continental Converse and all that kind of stuff happens, and he watches as
the life drops out of her eyes. And he's a soldier's experiences before.
So like that kind of aspect brings incredible depth to not just the human story,
but then to individuals who may have experienced that same thing with their own
family members. And that's just one example. So it's incredible being able to
delve into that deep of a person's life from a character study perspective. Yeah,
yeah, yeah, just out of curiosity, did you run into Jason
Markowitz because I know he was there at Y. Yeah, he and I
cross paths quite literally the day he quit. And he works in evening programs
Jason Mark, which is as a voice actor as well, and he's got
a project coming out right Yeah, yeah, you just heard about it in
the news sector. Yeah, and so we kind of zigged while with Zach.
So the gal are funding up. The gal who plays my fake wife
directed the show that he was in. It's a very complicated life that I
live, but but yeah, so I know of him and we met briefly
in passing. Yeah, small world. It is a small world. So
you sound like you're quite the history buff and you got to play on the
brigad Ventures William Bradford, the MAK and Pilgrims. So tell us how that
came about. Yeah. That was the second audio drama I had ever done.
The first one was Hidden Hand with the Lamplighter, which is where I
met Andy, and the world has never been the same. But no,
Brinckman, I got hooked into them. I forget who first sent me the
audition information. It was probably Nato Jacobson. As always native you just assume
it's Nato. It may have been Jake Phillips, and it was one of
those two. Could have been Jake, could have been somebody else, And
it was pretty funny. I hadn't done any recording from home at all.
I just done the thing at Lamplighter up in New York. They prefer to
record in studio family style, and which for those who aren't familiar with that,
meaning all the cast in the same room at the same time, as
opposed to individuals broken up around, you get a different feel. And and
I ended up touching Base. I sent him a couple auditions, and I
was ended up going to be playing the small little bit part. I didn't
have equipment, so I had to go and like buy equipment, and it
was like, oh, that's not good enough, so do this, And
so I ended up he kind of walked through the whole process, getting the
write equipment and the mics and everything. I knew nothing at all about audio
drama or performance in this kind of space. And then they heard an audition
that I did for and I forget the name of the character. Now,
Oh my gosh, there's been a couple of years that they wanted. The
Scarlet Pimpernel is the instruction that I got and so I just created that character
from an old film that I had seen and they're like, yes this,
I was like okay, And so that's how that character came to life,
and it was it was a blast. If you if you haven't heard that
production, it is fantastic, absolutely fantastic. Well, Annie, we've mentioned
hit in Hand a couple of times here, but you actually get started with
with acting here at Liberty. Tell us a little bit about that and what
what got you interested in the arts. A lot of times these these actors
will start at a younger age, but you said it was it was not
until till that time in your life. So what brought that about? That's
correct. Well, it's full circle for me because audio drama is what got
me interested in acting in general. And then I became a stage actor,
and then during the pandemic, I became a voice actor. So I'd listened
to Adventures in Odyssey my whole life, and I loved that world. I
loved all that, and I didn't know that acting was truly a profession.
I mean, I knew that people did it, but I thought, you
know, just a handful of folks out in LA And someone told me a
pianist at my church told me, hey, you should be an actor,
just completely off the cuff. I was seventeen years old, and it just
burrowing in my head, and so I came. I went to school for
one year at home. I know, no major declared, just got some
general studies. And then I came here to Liberty and declared an acting major.
Before it had ever stepped on stage, I don't know anything about it.
I didn't know the lingo I didn't know, literally came into a blank,
and I thought i'd know pretty soon if this was for me, and
it turns out it was. And so I'm actually in a show right now,
rehearsing a show in Georgia, a big spectacle Christmas show called A Christmas
to Believe In. If you're in Georgia, come see us in December.
It's my seventy seventh professional production. Wow. And that just all started here,
not on this stage. They built this right after I left, and
I think they meant to. But then during the pandemic everything dried up.
I was already in a bit of sabbatical from acting anyway, trying to kind
of find the next path for me because it's a difficult life. It's a
hard life. But I had decided I'm going back to it. I was
called to it. I was made for this. I can't make any scratch
out in the real world. So I was about to come back in and
the pandemic hit, and somehow I believe that that was through Thomas Scott another
yeah, Seneca or Winter. I think he cued me into the Hidden Hand
auditions. And I was working at a tool store at the time, just
trying to make ends meet during the pandemic, and I got the email while
I was on the floor stocking that I'd gotten Black Donald in the Hidden Hand.
I immediately started crying and I was like, well, hopefully this starts
something. And boy did it ever. And I also my second one was
Freedom as well. I'm pretty sure I didn't make the final cut because guess
what, I don't speak Algonquin and I I think I ended up getting replaced.
But Ian also walked me through buying a microphone setting at my studio and
everything like that. I owe a lot. Yeah, Ian Botman the real
hero here. And it's just it's been such an exciting life and so I
still canntinue to do theater and I just travel with my studio as well and
do projects on the road. I prefer my home studio in West Virginia.
It's I don't have to worry about the sound. I know it. It's
very well, you know, you know, the hotel life of heaven to
try to figure that out, but it is so it's so flexible, and
I'm very thankful for that. God just kind of shoved me into this.
I wanted to be a voice actor when I was a kid, didn't know
how to start all the way through my career, didn't know how to even
pursue that, and then I just shoved into it, literally, and I'm
so thankful. Well, tell us a little or talk to us a little
bit about the differences between stage performance and behind a mic. It's very different.
There are some skills that cross over, but it's a very different art
form. Absolutely. The skills that cross over are great ones being able to
think on your feet, being only able to stay in character and be flexible
in character, move impro and character and things like that. But on the
stage you've got weeks and weeks and weeks to craft that character and hid in
hand. I was reading it for the first time as I was recording it,
and I came up with a character I hoped it worked and was just
going. I was like, I kind of like this. I kind of
like the pressure of that cold read. It's not always it doesn't always work
out. And I think character creation is the most difficult part of this job.
And sometimes I'm auditioning for a number of different roles for a new project
or something, and I think, man, I just sent in seven characters
that I wouldn't None of them are great, and none of them are even
that good. But it's what I have right now, and I don't have
the weeks and weeks and weeks that I do in a stage show to come
up with it. And sometimes a certain character you just immediately I've got an
idea for that, And sometimes you just grasp at strass and you know,
it's if the roles for you, if it's the right one for you,
it'll come true. But not every role is for everybody, that's for sure.
Yeah, And that's one thing you have to get used to, is
like they're not saying no to me as a person. They're just saying that
voice is not what I'm looking for exactly exactly. I don't. I mean
resident. One thing, one note I always get, can you make that
younger? I'm thirty six, I'm playing like a sixty year old, and
they're like, it's way too old. It's way too old. He sounds
ninety eight. So that's something that I'm still working on in consistently trying to
youth up my voice for certain characters. Well, you're a singer as well,
so has that helped you as you move into a voice acting at all?
Absolutely? Absolutely. The instruments you use as a singer are the exact
same ones we're using in the studio, and it also helps flexibility of the
instrument. I like to do a lot of dialects, a lot of accents,
a lot of different style of cadence and syntax, and that all comes
from my training as a singer, which I also didn't start doing until I
stepped foot on this campus. So you are a Seneca Award winner. You
won Best Actor for your role as Simeon and Witnesses, and that had a
lot of really emotional scenes in it. I thought it was brilliant. Brought
me to here sometimes too, so for those really tough emotional scenes. What's
your process or what's a tip for an actor you give to get into those
kind of roles. Everybody's got their own bag of tools when it comes to
bringing out those difficult emotions. The easiest way for me to do it,
and it doesn't always work, but it definitely did with Simeon is just to
live it in that moment and to be going through it in that moment.
I have a very good imagination. I'm an impath. It's easy for me
to imagine that I am him and there and going through that in real time.
And I'm a very emotional person. I'm a very emotional actor. If
you're not seeing me cry on stage, it's a rarity. I I like.
I like that that side of things. And there was when Tracy Van
Dolder was coming up with that piece. She told me about it. She'd
already had a different actor, and I said, can I audition? I
love that character in the Bible, and I one of my oldest nephews is
named Simeon as well, and I thought I'd love to give it a shot.
And I also love aforementioned I do age well, So I was like,
I want, I want to play somebody that's extremely elderly. I want
to give it a shot. And I sent it to her and she said,
let's do it. And I was just so thankful and very on to
win the Seneca Award. I was extremely blown away by that and very thankful.
It's I love Witnesses. I love Witnesses. We both do, Yes,
we both do. Go check it out is witness Audio dot com.
It's free and it's amazing. It is and Tracy event Older is what an
amazing writer, Oh for sure. Yeah. Adapting scripture in that way is
just I've never I've never seen anybody do it quite like that, and it's
just fantastic. Yeah. You know, I probably shouldn't say this, but
every once in a while you come you hear about a new show and you're
like, oh, it's another Biblical adaptation. You know, I've heard him
since I was a kid, But every once in a while you come across
one where you're like, this one's different. I agree. The Adventum is
one and Witnesses is another. I mean, they're just very very well done,
and I love Tracy's writing. Yeah, it's pretty beautiful. We just
wrapped up an Adventum six recently. Yeah, it just came out and what
about a month and a half ago, a month ago, two weeks ago.
I wouldn't quit that one. Yeah, yeah, we two very different
shows, you know, Witness, very different, but it's a good one
though. So I'm very hopeful that we're still at the very early days of
your careers as voice actors. This is this is this is the we're going
to quit. Oh, we're announcing our retirem yeah, this is this is
it. Thank you a great now. Yeah, we've all been doing it
exactly the same time. Our first, our first audio drama voice acting stuff
was hid in hand three years ago, June twenty twenty. And the world
is not ready for what's coming next. I'm sure so, and not in
a good way probably either. Very warning for both of you. What what
a role? Do you feel like it's been the most challenging for you thus
far? You first, Daniel, Oh, thanks me first? Great?
This right now, this, right now, this question, this is the
most challenging. It's hard to pick one that's the most challenging because there's so
many different ways you could go about it. When it comes to the most
stretching d you know, gosh, probably the first one that comes to mind
that stood out as kind of the first real big thing that I had to
push myself in was dashed to pieces you were in that. We do that
a lot. We're in a lot of things together. Sometimes most of time
you're beating me up and most of them it's kind of a tradition. But
I've played I played the character of Sayid in that, who is this young
guy who is let's put it this way, he is not the best circumstances.
He's enslaved and gets the absolute snot beaten out of him quite regularly and
has a kind of an emotional arc that goes with it. And the hard
part for me in that one was I was the only person not recording in
the studio. I was remote, and everybody else was in studio oh wow,
And so trying to get the sense of timing of the scenes as that
was happening was difficult. Everybody else was in studio together, recording up up
in New York, so they had that kind of family atmosphere going on.
And then the character was an incredibly emotional character and if you ever have a
chance to listen to it, there the second act, kind of closing penultimate
scene is this massive sequence in a cave with a river and a flood all
happening at the same time, and multiple people Todd Busteed did the director.
May sound sounds incredible to one, fantastic, but hearing the final product and
remembering what we had to go through with all of us in like different places
in the lag, you know, Andy would go oh no, and then
it'd be like and then I knew my voice would come through ah, you
know, So it was just like the lag back and forth. It'd be
like, can I get more Daniel on my Headphonesdiel the Limardaniel place, Lord
Daniel never hear that normally, but but yeah, that was challenging, I
think from an emotional perspective, but then also the logistical technical side was was
was was probably the most that comes to mind immediately. Well, and you
guys had a really quick turnaround time on that one too, if I remember
correctly. Yeah, and Todd cranked it out extremely working with those variables,
with the audio like that, that must have been a nightmare. It was
it was, It was, it was an experience. It was just a
blip and it was over. I mean, it's just we were working extremely
hard and then you blinked and we were done. We recorded that in what
day and a half? Yeah, it was like what eight hours in studio
I think all told. Yeah, yeah, it was twelve, like like
ten or like ten. Yeah, it was it was quick. It was
like one full day and then like half a day and then we were done.
Yeah, what about for you Andy? In the Adventum that we just
did, I play Sampson and that was definitely it. That was definitely the
most challenging. I didn't even audition for it at first because they had him
listed at near my age and I thought, I don't sound that he's too
young. So then I had auditioned for a few other things and John Fournoff
reached out to me and said, would you send in a Samson? And
he cast me. And so it's about a twenty two twenty three year arc
of playing this character. And also it's Sampson. It's it's big, it's
he was going for the superhero sound, the whole when he hops out and
everything, and I'm just in my studio at home, like pushing on everything.
I was afraid. I was afraid I was going to put something through
the wall. I pulled. I pulled muscles on both sides of my neck
from all the stuff and he's just getting that character at first was difficult for
me and I didn't feel confident in it. And John is a brilliant director,
and it was no time that I felt confident in it. And I
listened to it recently. It's a brilliant final product. That Nato wrote it.
It's lovely, it's lovely, Jake's in it, It's it's fantastic.
But that was that was I would put as my biggest challenge. You did
a great job. Thank you. You were great in that too, Thank
you. So you guys have worked remote and in the studio. So what
are some of the pros and cons of each of those? And Andy,
I'll let you go first this time. Okay, Sure, I definitely prefer
family style always. It's it's just you get so much more nuanced, you
get so much more reality believability that way. Sometimes even in the best audio
dramas, you can tell they weren't together. There's just some sort of inflection
that doesn't reflect what just came. There's just like a oh that the way
that they colored that word. They weren't reacting, they were just doing a
And so family style is wonderful. The cons of that or travel, it's
going to cost the producers more to get everybody there housing. I mean,
it's it's just there's a lot of those kind of semantics that are difficult that
make family style not possible for everyone. And so the pros for having a
home studio is, you know, I mean, one second I'm eating lunch
in my kitchen table and the next second I'm in my studio, all zoned
in, ready to go. Me me me, me, me, I'm
going, and that can be thirty seconds in between them. They each have
the world we live in now, where you can purchase all this equipment,
you can sound designed from home, you can do all that kind of stuff
is absolutely huge and I probably wouldn't be a voice actor today without it.
But the actor in me absolutely loves family style recording. I'm a team I'm
a team player, so i will always miss that element when doing it solo,
but I'm still thankful for the ability to do it solo. Yeah,
anything to help the same thing for me. I mean, the nice thing
about doing remote record when you still have everybody, like on a zoom call
or a clean feed, you still get some of that rapport back and forth,
which is what we did for a Ventam, yeah, which we did
for Venom and some of the Lamplader stuff. But yeah, when you're by
yourself and you're sitting in a booth and they're like, okay, read these
lines and just run through fifteen lines, You're like, I hope this connects
to everything else that I'm doing, and you have no idea, And that's
where you have to trust the director, sure, and that's where the team
work with that director knowing all the different pieces comes in. But yeah,
the same thing Andy said, you know, when you're in a room with
people, you get such a different rapport and electric it's it's so so very
very different, And yeah, I prefer it if I can do it.
But that's most of the industries. Most of the industry outside of audio drama
is you by yourself in a room or rolling through you know, whether there's
animation, video games, et cetera, commercials. So audio drama is kind
of as unique in that it still does in some cases that kind of family
style aspect. Yeah, the majority of the roles that I've done have been
just recording wild, you know, and so I've tried to do three four
takes and try to approach the line from different ways, but when you can
get on a call with them directly, it's it's so much different and I
think for me especially, it results in a better performance. It's I would
agree with that one. Well, this is the moment you've all been waiting
for, I assume when we leave, right And Yeah, I kept saying
backstage that this is the part that you're gonna regret horribly by the end of
this. So we've got a little scene here with a couple of interesting characters,
and this is exactly the type of stuff we do together. That's awesome.
So uh, for for the audience, we have two would be bank
robbers here getting ready for a job in New York City. We've got Muggsy,
the brains of the pair, and Curly, who is the lookout and
driver, not the slight or not the brightest the bulb. So do you
guys have a preference on which which character who wants to be the brains and
who wants to be the bron Well, I think it's kind of set in
you're the brains on the bron Okay, done, brains? Wait, which
ones? Which one's which Muggies? The Muggsies muggsy the brains. You're muggsy,
got it. So if you if you notice there are a couple of
clues in this little description that sort of sets up the scene that these guys
can pull from you. You have a little bit of a character description,
we have a little bit about the setting, and so they use those details
to come up with with a voice for these characters. So we ready see
New York. So that gives us a clear indication this should be Southern accents.
I'm from Arkansas. Now look here, Curly, we're gonna know all
right, take it away, brother. Now look Curly, listen, I
want you to stay here with the car. All right, with the car.
Well, I take my withdrawal from this here bank. Yeah yeah,
I got it. Boys. Okay, yet, now, like I said,
I'm going to shouldn't we put a coin in the parking metia face crazy?
We're only gonna be here for a few minutes, all right, then
I'll be back with plenty of dough to fill every parking meet in New York.
That's real generous. Something I'm not gonna feel. Not as generous as
the bank, not as generous as the bank tellers is gonna be eh,
you know, so what do I do? Well? I wait for you.
You just curly, You just sit there, you watch for any cops.
You wait for me to get back in the car. You don't draw
attention to yourself. All right now, I'm gonna go in and wait a
second. Where's my gun? What gun? The one I'm gonna use to
persuade those chumps out of their money. Where's the bag I told you to
bring? Big Yeah, the little black one, the little black bag,
you know, the one to keep my mask and the gun inside that bag?
That bag? Here you go, thank you. There's that's great.
I gotta just look at the no this this, curly. There's no gun
here or my mask. It's just what is this the sandwich? It must
have picked up my lunch bag and you send up your lunch. Where's my
gun bag? It's okay, boy, I'll share it with you. It's
what my mama made me this morning. And peanut butter, curl start the
car, but jim me, you just rollin the entire hold the fishing here,
right, boys, start start the car, all right? The sou
where the key goes? You gotta be kidney. It was right here a
minute ago. Oh no, oh no, there's a cap heading away.
Maybe he can help us find the car. He's gonna recognize us. Hello,
officer, Yeah, I just care for peanut sandwich. It's no,
that's my sandwich. Well die and give a round of applause to Austin Peach
who wrote that Why here you go? I thought it was from something welcome,
What's unseat? Thank you? And for those who are following what the
Audio Drama Alliance produces, that script will be adapted and kind of fleshed out
a little bit more and show up in the Sonic Comics series. So,
so now we've done some original characters, but what about some more well known
characters, maybe the ones you've heard of before. So we've got an excerpt
from the It's a Wonderful Life radio script. It's not from the film,
but we have George Bailey, the scene with George Bailey and Clarence, right
after Clarence pulls George from the river. And so we'll let these guys decide
who they want to which character they want to do, and we got to
figure it out. Okay, okay, oh hold on, Dan's gotta get
ready. Hey hey, look here, what why do you want to save
me because I'm your guardian angel jee I see, Yeah, well you look
about like the kind of angel. I get. What happened? What happened
to your wings? I haven't won my wings yet. That's why I'm an
angel second class. Yeah, I see. But you can help me earn
him, George, by letting me help you. You don't happen to have
eight thousand, eight thousand bucks on you, do you? No? No,
no, no, we don't use money in heaven. That's right.
Yeah, yeah, I keep forgetting. It comes in pretty handy down here,
Bob. No, of course I found out a little late. You
know. I'm I'm a I'm worth more dead than alive. Oh, you
mustn't talk like that. Joseph will never give me my wings. If you
keep feeling that way, you don't realize what you've done for your folks.
By if it hadn't been for you, you never hadn't been for me.
Everybody be better off, my wife, my kids, my family. Oh,
this is not going to be easy. I'd all have been better off
if I hadn't even been born. What you said, I said, I
wish, I said, wish I've never been born, George that's wonderful,
wonderful, wonderful the idea you just gave me. You got your wish.
You've never been born. I've never been born, exactly, No worries,
no eight thousand dollars to get nothing. You simply don't exist. All right,
Okay, all right, George. I can do things, strange things.
I can show you the world the way it would be if you hadn't
been born. Andy Harvey and Daniel Cross, everybody. That was so awesome,
guys, good job, thank you, thank you, it was fun.
Thank you well, thank you so much for being here. We're gonna
we're running out of time, but man, I really appreciate you guys making
the time to do this with it. Thank you. It's such a such
a blasting. The pleasure is mind. I'm so thankful to be a part
of this. Thank you. Thank you. So what do you think of
the show? Please leave your message after the show. Hi, Auditer Central,
Hey guys, this is awesome. Peak hell about j D Royan Andrew
minum It Victoria. Now, yesterday I received a letter from a big band.
No time to Josh. I've got an email. This another package for
me today. No, it's actually just your mail. Yes, it is
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or send a text message or a phone call to six two three six
eight eight two seven seven zero. We got an email from from Blake not
too long ago, and he asked, why are we not hearing as many
audio dramas recorded at the soundhouse in London? Why are all of them recorded
in the US now using fake British accents? So I thought this was an
interesting perspective. And we heard earlier this evening from Paul McCusker about working with
British talent and they are amazing at what they do. But you talked about
earlier and about the you know, certain budgetary constraints on certain production houses and
sometimes even if your story takes place in the UK, you don't have that
budget to fly over there and work with those with talent. And so I
don't really understand the mentality that nobody can do another accent that you know,
it happens in film all the time in British people do American accents, and
so I I don't if if somebody can pull off the accent, why not.
And I'm sure you guys agree, you've you've done all kinds of accents
in the roles that you have have performed. So sometimes well sometimes yeah,
yeah, there've been there have been some some rough funs, I'm sure,
But overall, I think I don't have a problem with that. I mean,
I don't. I don't even think that it's fair to use the word
fake. I mean because as an actor, that's part of what you do
is you become these different characters. And so I love hearing the stuff that's
produced out of the soundhouse in London. It's it's amazing stuff. But that
may not have been the answer that that you want to hear Blake. But
there are people still producing there. We heard from Air Theater. We know
that river Cross is still producing there and using British talent. But I mean,
Lamplider is doing some amazing stuff with using mostly US based talent these days,
and so I think those productions are just as valid in my opinion.
Do you have anything to add to that in Austin, Well, I think
also too. It may depend on the audience. So if it was mainly
just like if it was a BBC and if it was Americans doding British accents,
then I don't think a lot of people in the UK would be too
happy about it. They probably pick it out. But a lot of audio
dramas, at least in this kind of niche, I mean, a lot
of stuff has heard around the world, but a lot of it's for an
American audience. So I'm speaking for myself, I don't always can't always tell
if it's a real British accent it's authentic or not. You know, that
just made me my untrained ear. But I guess it also have to depend
on your audience, who, what your audience is, and how authentic you
want it. Yeah, And I think that is the case with a lot
of these that the audience is primarily US, so we don't understand always all
the nuances of every single accent. And there isn't just a British accent.
There are so many different ones. That's why fake accent doesn't work, because
I mean, these people are still using accents that aren't their regular voices,
you know, so that the phrase fake accent, it's a little it's a
little derivative, but I agree with you. I think it's it's it's it's
money, it's convenience. And also audio drama is just on a huge upswing
in this country and that's a great thing. That's a great thing. Yeah,
well, thank you again, Andy and Daniel. Thank you for chiming
in on the feedback segment as well. If you'd like to join the ATC
Insiders, it's our newsletter. We'll email you about the cool stuff that we're
up to, and you can always keep get in touch with us at audio
Theatercentral dot com. Slash Contact. Show notes with links to all the productions
and everything else that we covered is at audio Theatercentral dot com Slash one ninety
three. We will see you next time. Thank you for listening. Audio
Theater Central is a production of Portnite Family Media. Our theme music was composed
by Sam Avandanio. Our engineer for this episode was Greg Vincent give him a
hand. This episode was produced by J. D. Setter and Austin Peachie
and edited by JD. Sutter. Our website is audio Theatercentral dot com.
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