Radio broadcast .. (1922-30)

28 Radio Broadcast feet. A man in Nevada wrote that when the tree crashed through the roof, he ducked! Holding a folded newspaper against the edge of a moving electric fan makes a well-nigh perfect imitation of the droning whirr of an airplane; the rattle of dishes and silver at once conveys the idea of dining; the clink of coins suggests the giving of a tip, and an empty bottle in a pitcher of water at once conjures up visions of ice water. And at the risk of killing the romance for some who have been thrilled by radio dramas, it may be admitted that in the love scenes, the hero plants a kiss not on the lips of the heroine, but on the back of his own hand. Indeed, the hero and the fair lady are often at opposite ends of the room. Infinite attention is given this matter of sound. If one of the actors is supposed to be talking while eating, he actually eats a sandwich. Wireless telegraph messages are real messages, sent by a bona fide operator by use of a spark set installed for the purpose. The clicking of a telegraph which the audience hears is that of a real sounder operated in the studio. Regulation thunder-making and other devices familiar to the stage are employed, and entrances and exits are marked by the banging of doors. The members of the cast do not, of course, appear in costume. They read their parts from manuscript, which is typewritten on paper especially selected for its freedom from crackling sound when the leaves are turned, and each actor is furnished with a complete copy. Reading the parts instead of committing them to memory obviates any danger of forgetting, and makes the presentation smoother than it could possibly be otherwise. Each play is, however, very carefully rehearsed before it is given. In the case of "Madame X," there were four general rehearsals and numerous others for individual players as well. The care that is exercised is evident from the fact that during rehearsals, the 'players' director, Mr. Smith, is in another room from the rest of the cast when he is not acting a role, and hears the play through a receiving set just as it would sound to the great audience. He issues his directions through a loud speaker. Two microphones are used in transmission, one for men and one for women, this being necessitated by the difference in the quality of their voices. Voice quality is of the utmost importance in this work. According to Mr. Smith, the ideal voice for the purpose is of low rather than high pitch. The enunciation must be very clear, and naturally clear, as any stilted attempt at precision tends to spoil the effect. The value of pause is something that must be learned. The careful actor in this work shades the pauses to almost a fraction of a second. The volume is usually confined to that of an ordinary conversation. If the scene calls for more, the actor steps back from the microphone. Nervousness, of course, tends to raise the pitch of the voice, but nervousness is not a factor among the WGY Players. Stage fright, even among the amateurs who sometimes take minor parts to complete a cast, has not been noticeable. The whole atmosphere of the studio when a play is being given is one of congeniality, and a performance takes on, so far as the actors are concerned, something of the nature of a rehearsal, inasmuch as no audience is visible. The realization that thousands are listening does, however, spur the players to their best efforts. That illusion and atmosphere may be created by sound alone, the presentation of plays by radio has definitely established. In a letter received at the studio following the presentation of "The Green Goddess," a listener wrote: "I want to add my appreciation of The Green Goddess' broadcasted last week. It was superb. Maybe I enjoyed it more because I am familiar with the 'Hill Station' region of the Himalayas. You got • the local color splendidly. The palace and social life of the Rajah were very vivid. The English 'resident' was perfect, as were also the Major and his wife. The Doctor was just the kind that appeals to all of us." The radio drama has an advantage over the movie drama in that it is carried right into the home, whether it be an isolated farm-house or a city apartment. Thus, it is available to those who are unable to go out for their entertainment. It creates a stage in every home equipped with receiving apparatus. Judging from the favor with which it has been received and the progress it has made in a single year, the radio drama will rapidly develop into a recognized branch of the dramatic art.