Welcome to the Twelve Days of An Atlanta Christmas (2015 edition)! Leading up to our December 12 and 13 performances at the Academy Theatre in Stockbridge, we’ll be bringing you our own take on this holiday classic!
On the first day of An Atlanta Christmas my true love gave to me…an interview on WABE!
Tune in to City Lights this morning just after 11am (12/1) to hear a LIVE interview with ARTC Executive Producer David Benedict, Head Writer Brad Strickland, and City Lights host Lois Reitzes!
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This month we’re continuing on with our interview series, this time featuring ARTC author and actress Kelley S. Ceccato. We’re also pleased to be making our very first post using the new Libsyn WordPress plugin! This will, of course, be changing up how the podcast is presented just slightly, so be sure to let us know what you think of the new format and we’ll make adjustments based on your feedback!
Kelley is the author of several audio dramas including Nothing-at-All (which we’ll be performing LIVE at CONjuration this weekend), In Need of a Bard, Sarabande for a Condemned Man, The Horseman of the Hollow, The Worst Good Woman in the World, and The House Across the Way.
She is also the author of the novel Atterwald and the forthcoming Nightmare Lullabye under the name Nan Monroe.
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As we enter the last quarter of 2015, we’ve got big plans for the podcast. We’ve been publishing since 2006 and have been highlighting our live performances. The response from our fans has been incredible, and we’re deeply grateful for all the kind words that have been sent our way. We’ll still be bringing you live performances on occasion, but the time is approaching for us to change things up a little.
For the remainder of this year we will be featuring interviews with various ARTC actors, authors, technicians, and producers to help our fans get better acquainted with the people who have been bringing you audio drama since 1984!
This month we begin with an interview conducted by ARTC founder William Brown with actor and author Dave Schroeder.
As always, we welcome your feedback. Let us know what you think, and we look forward to helping you get to know us better with even more exciting events to come!
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We apologize for the lateness of the podcast this month. Dragon Con ate our brain.
Well, this is it. The final chapter in this 5-part saga of The Passion of Frankenstein. It’s been quite a summer with an unprecedented three performances of this gothic masterpiece.
We hope you’ve enjoyed getting to hear this piece from the different casts. We looked for some of the older performances, but they appear to have been misplaced. If we find them, maybe we’ll run them later.
In the previous installments of this piece, the music was done by Brad Weage. In this final installment we were pleased to have live music from The Ghosts Project.
We also presented the Thomas E. Fuller Lifetime Achievement Award to William Alan Ritch and David Benedict!
See you next month with something less monstrous!
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We’re back with another podcast, and this time we’re coming back to the studio production of The Passion of Frankenstein. Remember, you can get this production in all its glory, with CD quality sound instead of the heavy compression we put on the podcast tracks, right here!
Also, just like the last time we used the studio production, we have no photos from that show, so we’re bringing you more from the LibertyCon show.
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Continuing our presentation of Thomas E. Fuller’s powerhouse, The Passion of Frankenstein, this month we bring you a performance from LibertyCon 2015.
As we’ve mentioned several times, the script is like an irresistable force, bearing down on the audience and hitting them with a heady blend of emotion, horror, and intense sound effects. The piece is vocally challenging for our actors. When we decided to bring the performance to World Horror Convention, we knew we couldn’t just perform it once but we also knew that the actors’ voices might never be the same if they had to perform it as many times in a row as we were planning.
So for LibertyCon 2015 we switched up the cast. We hope you enjoy this segment that features several performers brand new to ARTC!
We’re also bringing you the preview of our upcoming new release, Blues for Johnny Raven! Be sure to check out the IndieGogo campaign to see how you can help us make the CD available to YOU!
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!
In this installment we bring you our appearance at the Academy Theatre in October 2010 where we performed The Last Dragon to Avondale along with The House Across the Way, featuring music by Brad Weage and Paul Mercer, and Rory Rammer, Space Marshal: The Colour of the Shadow of the Outsider Over the Mountains of Madness Out of Space. This performance was a benefit for Georgia Aquarium (it was one of our first benefit performances, in fact!) and also included special musical guest Rooke! Check out all the pictures on our Flickr album.
In 2010 we debuted our Partners in Imagination program, which strives to harness the power of multiple non-profit groups into something stronger by raising awareness amongst our various audiences and maybe even a little money as well.
We had originally wanted to do this benefit for Georgia Aquarium with Twenty Thousand Leagues Under the Sea, but it became apparent very quickly that the script wouldn’t be ready in time, so we switched gears to The Last Dragon to Avondale. We felt that its focus on an “endangered species” made it a great fit.
Plus, we’d been performing at the Academy Theatre in Avondale Estates for a while at this point and to NOT perform this piece there would have been a crime against … well, a crime against something. Dragons, maybe.
We also had the privilege of working with some amazing musicians on this piece. There was Brad Weage.
Paul Mercer on violin. This was Paul’s first appearance with us!
And our special musical guest, Rooke! Rooke has been around since the late 1980s and play a kind of (in their words) acid folk. We couldn’t quite get the whole band for this show, but we were thrilled to get Steven Sams, David Cater, and Keena Graham!
Rooke actually released an album of the recordings from this performance, so go get some great music!
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!
In this installment we bring you our appearance at the Academy Theatre in October 2010 where we performed The Island of Dr. Moreau, featuring music by The Ghosts Project, along with Inhuman Rights, Rory Rammer, Space Marshal: Set Loose the Dogs of Time, and Bumpers Crossroads: The Stray Dog. This performance was a benefit for the Atlanta Humane Society and also included special musical guest Julie Gribble! Check out all the pictures on our Flickr album.
Ok, first up, we know that using The Island of Dr. Moreau as a benefit for the Atlanta Humane Society sounds like a sick joke.
But the truth was that we thought it was a perfect choice to highlight the plight of animals. While it’s true that nobody is trying to turn animals into humans surgically…
…animals still face serious challenges every day due to neglect, maltreatment, habitat loss, and various other challenges. We wanted to help, and we felt that one of H. G. Wells’s more shocking stories might assist with that.
This was also a musically packed performance. In addition to the usual brilliance of Alton Leonard, we were thrilled to be graced with The Ghosts Project!
Not to mention our very special musical guest, Julie Gribble!
This performance also featured our Beast Men Chorus, led by Beastmistress Trudy Leonard.
Not to mention one of the more violent Foley performances in ARTC’s history, involving a rubber mallet and a rather unfortunate butternut squash, used to simulate the cracking of the pantherwoman’s skull.
Be sure to come see more crimes against produce as we mangle a grapefruit in our upcoming performances of The Passion of Frankenstein!
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As we mentioned last month, we’re bringing you The Passion of Frankenstein in five parts and will be showcasing a different performance for at least the first four. We hope. We haven’t performed two of these yet and if the recording devices fail (it’s happened) then we might have to improvise. Part five will probably include the best performance of those scenes, but who knows? We might surprise ourselves.
This month we’re bringing you a section of the studio recording that we did at Audio Craft Studio back in 2002. This is what we refer to as the “original cast”. The pictures in this entry are still from World Horror Convention 2015, though, because we don’t have any pictures from any of the other performances yet. Talk to us after LibertyCon and Dragon Con. So the picture below of Thomas E. Fuller and Henry Howard at Audio Craft will have to do.
The studio recording was, literally, a monster to produce. The rich soundscape we talked about in last month’s entry is difficult to produce live, but surely in the studio it’s easier, right? Wrong.
First, in the studio the standards are higher. Live audiences are very forgiving (thank goodness!), but once it’s on a recording all the little flaws stick out, so there’s a lot of precision work that has to get done. And the music, which in a live performance has a little bit of ebb and flow and adjustment to it, had to get timed out to the second to make the scenes work the way they were supposed to.
And then there was the review process.
See, this was back in the early 2000s when the Internet was only barely a thing for the general public. Cloud storage didn’t exist. Websites were hosted on Angelfire and Geocities. And CD-R technology wasn’t even remotely as reliable as it is now. We couldn’t just create an mp3, put it on a server somewhere, and have beta listeners download it and give feedback. We had to try to gather everyone together at the same time and have a listening party. On one memorable occasion we had all the relevant parties in the room…and the CD wouldn’t play. And burning another one would have involved an hour of driving and probably 30 minutes to actually burn the disk. So we all went home.
Ah, those were the good old days…
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!
In this installment we bring you our appearance at Dragon Con 2010 (Sunday night edition) where we presented Time and Time Again by H. Beam Piper, adapted by Ron N. Butler and At the Mountains of Madness by H. P. Lovecraft, adapted by Thomas E. Fuller, and featuring music by The Ghosts Project. Check out all the pictures on our Flickr album.
It’s a short update this week, folks, as I am flying out to Kansas City, MO, later today to attend the HEAR Now Festival. But this was a momentous show because it marked the beginning of our long-standing relationship with The Ghosts Project, who have since gone on to play with us on several other productions, including The Shadow Over Innsmouth, The Dunwich Horror, The Island of Dr. Moreau, and The Rats in the Walls!
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