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31 Years of ARTC: The Call of C’thulhu 2009

Continuing our look back at ARTC’s 31 years (thusfar!) with photos from our live performances. You can get a look at our whole history of combining adventures in sound with the thrill of live performance in our Chronology!

This week we bring you our appearance at the Academy Theatre in Avondale Estates, which featured our 2009 performance of The Call of C’thulhu by H. P. Lovecraft, adapted for audio by Ron N. Butler. Check out all the pictures on our Flickr album.


We’ve performed a lot of different places over the years. Hotel ballrooms. High school auditoriums. Hair salons. But one of our favorites from an acoustic point of view was the Avondale Estates location for the Academy Theatre.

Typical stage setup for ARTC
The stage is set…

Not too big, not too small, well lit, walls made of hard concrete. Well, maybe that last part wasn’t so great, but you can’t have everything.

A portion of the cast of
A portion of the cast of Night Call by Brian Phillips

At our 2009 performance, not only did we bring everyone the cosmic horror that is Lovecraft’s The Call of C’thulhu, we also brought Brian Phillips’s original audio drama Night Call and Kelley S. Ceccato’s The Worst Good Woman in the World!

Portion of the cast of
There’s really only one harmonica player here. But in audio, who can tell?
Tammie Hood and Clair W. Kiernan
Tammie Hood and Clair W. Kiernan. Hats? What hats?

We’ve talked before about how we don’t often do costumes, but every so often we just can’t help ourselves.

Tennille Clayton and Sonya at the Foley table.
High tech Foley. Squishiness comes at a price.
J. E. Hurlburt at the microphone for
Auditions for Lovecraft pieces sometimes consist of just a bunch of screaming.

Be sure to check out our performance calendar to see when you can see us next!

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Podcast glitch

It’s come to our attention that the podcast for January and February had some kind of digital glitch that was causing a beep every few seconds. We want to apologize for that and let you all know that we’ve fixed it, but also want to assure everyone that we would never stoop to such tricks to “watermark” our content that way.

If you ever have any trouble with the podcast, or any other part of the website or our offerings, please let us know!

Unauthorized posting of our content is a problem, no question, and if you see anything posted that doesn’t look like it came from us on an official channel, we’d appreciate your letting us know (especially our studio work), but it would never be our intention to make for a bad listening experience.

There are exciting things in store for the podcast later this year. Right now we’re going to keep it nice and vague, but we think you’ll like what we have in mind. Thanks for listening!

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Twenty Thousand Leagues Under the Sea part 2 of 4

Size: 10.5M Duration: 18:04

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When writing the script for Twenty Thousand Leagues Under the Sea, David Benedict and Brad Strickland had two major problems to overcome. The first was compressing a novel-length work of genius by Jules Verne into an hour time slot. That was solved through vicious editing.

The second problem? There are no women in Verne’s tale of the sea and ARTC has been blessed with a number of extremely talented actresses. It would have been a crime to leave them out entirely. So, artistic liberty was applied. First, it was decided that Conseil, Professor Arronax’s faithful companion, would be a woman. Second, a new female member of the crew would be introduced.

Clair Kiernan as Conseil and Kelley S. Ceccato as Navigator Aznar
Clair Kiernan as Conseil and Kelley S. Ceccato as Navigator Aznar

Captain Nemo’s crew is not mentioned heavily by name in the original work. They are clearly vital to Nemo’s voyage under the sea, and he values them greatly. No, he reveres them. But precious few individuals are named. This gave Strickland and Benedict an opportunity to introduce audiences to one, who just happened to be a woman, and also to allow the audience an opportunity to track the progress of the Nautilus as Navigator Aznar announces the submarine’s position at the beginning of many scenes.

One thing that was very important, however, was that Aznar not be relegated to the “love interest” of the play. The only love interest that is present in the script, as well as the original novel, is Nemo’s love of the sea – of its beauty and what it can provide if it is respected.