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30 Years of ARTC – Throne of Shadows, Dragon Con 1999

This being our 30th anniversary, we thought we’d dip back into the past and recap some of our previous performances, triumphs and tragedies, in a series of posts. And don’t forget our Chronology! It’s not as detailed, but it really shows the growth of ARTC over the years. You can see all of the photos in their full size on our Flickr album!

ARTC has been priveleged to perform at every single Dragon Con since the very beginning back in 1987. In 1999 we debuted the audio version of Thomas E. Fuller’s Throne of Shadows: The Last Relic of the Empire. It’s a complex story involving the Emperor of Mexico, an actress pushed to her limits of sanity, and an alternate history of the way things really went in 1867. But leaving geopolitics aside for a moment, the story is really about the love that Maximilian shared with his wife Carlota and how that love transcended death and madness.

The cast of
The cast of “Throne of Shadows”

In this photo we see an extremely young Sarah Taylor as the fictional Sofia, along with several other members of the cast of the production. We managed to get Sarah into the studio to record her lines while she still sounded like a girl instead of the young woman she has grown up to be. Also pictured, Trudy Leonard as Carlota, Dena Friedman Williams as the actress Victoria Forell, and Thomas E. Fuller as Emperor Maximilian.

Foley for
Foley for “Throne of Shadows”

Foley for Throne of Shadows was fairly involved. There was lots of walking around on castle floors when the scenes were set in Bavaria, but when the scenes magically shifted to the Mexican Empire in 1867, it was occasionally necessary to have dense foliage available. One side set in winter, the other in a glorious Mexican spring.

Brad Weage at the keyboard
Brad Weage at the keyboard

Brad Weage composed the haunting score, including the essential “Imperial Waltz”. For the final studio production, Joel Abbott provided a good deal of a replacement score, due to Brad’s original compositions being unavailable, but the “Imperial Waltz” lives on!

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Noir in the Naked City – Episode Two: Progress

Naked City Atlanta logoNaked City is a monthly live literary event held at the Goat Farm in Atlanta. Each month, the hosts reveal the theme for the next month and people sign up for the privelege of getting five minutes to speak, sing, or do whatever on the subject of the theme. Go over your five minutes? Then you must spin the Wheel of Consequences!

Naked City’s website
Naked City’s Facebook page

Starting in February, I began a writing challenge for myself: A crowd-influenced serial called Noir in the Naked City where, at the end of each episode, the protagonist would be faced with a choice. The audience would make the decision for the character, and then the next episode would be written with that choice in mind AND on the next month’s theme.

We’re four episodes in now, and new audiences are probably going to be a bit lost. So I’m posting them here so people can catch up. I’ll post one per week until we’re caught up, and then the next episode will go live right after the event itself. Hope you enjoy them!


 

Episode Two: Progress

Choices. Life’s full of ‘em. You make one, it leads to another, which leads to another, an endless string of consequences flowing through everyone’s life like a river downstream from a major city. The question is whether the river is filled with honey…or blood. Currently my choices had me shambling down the street through a rainstorm that would give a respectable monsoon a run for its money without my hat.

I’d been going like this for about an hour. I don’t drive a car, don’t trust ‘em, and I can’t work the pedals in any case because of my special circumstances. My special circumstances also mean that I fall down a lot, but it’s ok. I’m used to it. I turned a corner and made it as far as a local movie theatre before falling down, which I considered the moral equivalent of winning a biathalon and the Boston Marathon on the same day.

The marquee threw its harsh neon message at me like a shotput, burning my eyes out with its brilliant intensity, announcing to the world that something part fifty was having its 30th anniversary.  I briefly wondered if the last original idea that left Hollywood had turned off the iron before it went out, but then I decided I could ponder the artistic integrity of the average moviegoer better from the comfort of my own apartment. I wouldn’t be making it there tonight, I suspected, but the thought gave me the motivation I needed to get going again. I staggered up, shifted my weight, did a forward roll, used the momentum to get my feet under me, and moved on.

I was nervous. Gek had told me that I should be at the train yard at midnight. There were all kinds of things wrong with this. First, the trains didn’t run that late. Second, he told me this at just after 10:00pm and he knew it would be a push for me to make it there in time from his place. And third, while it’s true that he knows a ton about what goes on in this burg, Gek doesn’t give away information for free. This was going to cost me and it was only a matter of time before the bill came due.

I nearly didn’t go at all. But I didn’t have a lot of other options available. At this time of night all my usual informants were going to be asleep, in jail, or otherwise occupied with each other. Not to mention hard to find. At least the train yard didn’t move around.

After another forty five minutes of staggering, stumbling, falling, and getting back up, the yard finally came into view. I stopped to catch my breath. Normally this kind of trip wouldn’t take that much out of me. I’m pretty tough, but the sustained breakneck pace had put an ache in my body that made me think my muscles were staging a revolt. Plus, I couldn’t get warm with the rain pelting down. I gotta move to Venice some day so I can just swim everywhere I need to go. A part of me wished I had my leg braces with me, but I rejected the idea. I needed the flexibility when I was on the job.

The train yard, visible now at the bottom of a hill about two hundred yards away from me, was a glittering vista of shiny metal and polished plastic. There’s a kind of romance about trains and locomotives that’s ingrained into the collective unconcious, and this place had about as much of it as a single man’s apartment the day after Valentine’s Day.

People think about trains and they think of  locomotives hauling lumber, coal, and hobos across the great expanse of the American midwest, connecting the great cities and bringing goods and culture to the masses through steam, grease, and a plaintive whistle that echoes forlornly through mountain passes. There’s an element of danger, where desperate men gather to seek out new lives and fortunes and risk death by misadventure for the thrill of exploration and dreamed-of riches.

That’s just because they haven’t ridden one lately and get all their news from picture books. These trains were maglev bullet trains designed to hurtle along tracks at nearly 200 miles per hour. They shone when the sunlight hit them and glittered in the moonlight. There were no desperate men here, unless they were desperate to get away from the guards that patrolled the area like ants invading the picnic of life. Trains had been big business once and were becoming so again thanks to modern technology and people’s insatiable need to be somewhere besides where they were.

I glanced at my watch. 11:55pm. I gathered myself for one last plunge down the hill, fully expecting to have to roll most of the way there, when suddenly there was a massive explosion at the far end of the yard. A plume of orange fire and thick, dark smoke billowed up into the night sky, casting garish shadows on everything in the general viscinity. I hit the dirt and swore, a long and lurid string of expletives that rivaled the explosion for heat and intensity. This was a mixed blessing. On the one hand, it meant that all the guards were going to head for the explosion – a better distraction would be hard to find. On the other hand it meant that everyone was going to be on high alert. Besides, what fool runs TOWARDS an explosion when he’s already a suspect for murder?

“Psst”

It was barely audible over the sounds of the fire raging and the alarms that had started down at the train yard, but still distinct.

“Psst”

About twenty feet away I could see a shadow detaching itself from a brick wall, motioning for me to come over. I looked at my watch again. 11:58pm. If I hurried I could still get to the train yard before midnight. Could the person I was supposed to meet have set the explosion as a distraction? If so, they weren’t going to linger. I could rush to the yard and try to find them in time or I could see what the mug in the doorway wanted. But I couldn’t do both.

CHOICE: Continue to the train yard? Follow the mug in the doorway?

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The Doom of the Mummy part 1 of 4

Size: 7.3M Duration: 15:39

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Bill Kronick as Dr Creighton AlastairIn 2008 we performed The Doom of the Mummy at Dragon Con. The performance was dedicated to Thomas E. Fuller, who had already provided us with retellings of the classic monster stories The Passion of Frankenstein and The Brides of Dracula (not to mention an adaptation of The Invisible Man). Although he’d never really talked about it, it seemed natural to assume that he would follow those up one day with more audio dramas in the vein of the Universal Monsters by also retelling the time-honored tales of the wolfman, the mummy, and several others in that same vein.

Unfortunately, Thomas passed away in 2002 and we were never able to see what his vision for these classic monsters might have been. We are forced to fill the void ourselves, and have begun to do so with The Doom of the Mummy by William Alan Ritch and The Wood-Bound Werewolf by Kelley S. Ceccato.

Now, here in 2014, we dedicate this performance again, this time to Bill Kronick, himself recently passed away. Bill was a marvelous voice talent, a skilled improviser, and a great friend to all who knew him. We are proud to present his work here as Dr. Creighton Alastair.

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30 Years of ARTC – Decatur Arts Festival 1999

This being our 30th anniversary, we thought we’d dip back into the past and recap some of our previous performances, triumphs and tragedies, in a series of posts. And don’t forget our Chronology! It’s not as detailed, but it really shows the growth of ARTC over the years.

ARTC has performed at the Decatur Arts Festival on five separate occasions. We loved our experiences there, but the fact of the matter is that outdoor venues aren’t kind to us from an acoustic point of view, and often from a weather point of view. Our 2004 Frontier Days performance was particularly memorable. Ask us about it sometime! You can see all of the photos in their full size on our Flickr album!

But, that said, we did get appreciative audiences. Here’s a few of our favorite moments from the show!

Trudy Leonard, Clair W. Kiernan, Tony Trauring, and Daniel Taylor perform.
Trudy Leonard, Clair W. Kiernan, Tony Trauring, and Daniel Taylor perform.

As you can see, we’re in a tent. It was a lovely sunny day and the tent helped keep the sun off our heads. Rain would have been a completely different story.

Bill Ritch and Thomas Fuller look over the technical side of things.
Bill Ritch and Thomas Fuller look over the technical side of things.

One of the great things about this festival was our opportunity to connect with some of our younger fans (and fans-to-be!).

Old tech helped make this show possible.
Check out the ancient technology!

Trudy Leonard, Daniel W. Kiernan, Clair W. Kiernan, Tony Trauring, and Daniel Taylor are on the stage playing to a decent audience, but what’s really interesting here is the tech in the foreground. Check that stuff out. An actual tape deck! And that laptop had to weigh ten pounds. Not pictured: A ton of other stuff we don’t have to use anymore thanks to modern technology. Now we lug around completely different (but equally heavy) stuff!

More older technology in use for the show
More ancient tech

Some of it is pictured here. But that’s still not all of it.

Foley table for the show
Foley work

Foley stays pretty much the same. I think we used some of those props at our last performance!

Brad Weage at the keyboard
Brad Weage at the keyboard

And what trip down memory lane would be complete without Brad Weage? Here he is right at home behind his keyboard.

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Noir in the Naked City – Episode One: Obsession

Naked City Atlanta logoNaked City is a monthly live literary event held at the Goat Farm in Atlanta. Each month, the hosts reveal the theme for the next month and people sign up for the privelege of getting five minutes to speak, sing, or do whatever on the subject of the theme. Go over your five minutes? Then you must spin the Wheel of Consequences!

Naked City’s website
Naked City’s Facebook page

Starting in February, I began a writing challenge for myself: A crowd-influenced serial called Noir in the Naked City where, at the end of each episode, the protagonist would be faced with a choice. The audience would make the decision for the character, and then the next episode would be written with that choice in mind AND on the next month’s theme.

We’re four episodes in now, and new audiences are probably going to be a bit lost. So I’m posting them here so people can catch up. I’ll post one per week until we’re caught up, and then the next episode will go live right after the event itself. Hope you enjoy them!


Episode One: Obsession

Life is full of choices, choices that determine where you end up in life. Currently my choices had me in an office, leaning against a wall, while a man who had to be at least 300 pounds of pure muscle loomed over me. I felt instinctively that I had made a few wrong choices somewhere along the line. Like going into the PI business to start with.

It all started yesterday when I woke up in a gutter, the rain backing up behind me as if I were the Hoover Dam. I ached. If my bones could break, they’d be good for toothpicks about now. Someone had worked me over pretty good, and I had a briny taste in my mouth as if someone had been trying to give me a message at the bottom of a saltwater dunk tank. Which was weird, because how’d they know I like salt in my water?

I pushed myself up and wondered when my head was going to stop hurting, when I realized that part of the problem was that some damn fool was blowing the horn on his car. I groped around for my hat, but it looked like someone had stolen it. At least I still had my coat. It was beige, but the label it had when I bought it said “wheat”. The sound of the horn wrapped itself around my brain and squeezed.

Lurching to my feet, I staggered over to the car to see what this guy thought he was going to accomplish with his dissonant New Age concert imitation. Blowing your horn in traffic around here was like building a signal fire in a volcano. And then I saw the guy and realized that he would never be accomplishing anything unless his goal in life was to help the grass grow.

He was slumped over the steering wheel, blood running down into the seat in a river that rivaled the river of rainwater I’d woken up in. His eyes gaped open, his jaw sagged, and he had bite marks on his neck. Ragged, flesh-tearing bite marks, leaving a grotesque, deep hole.

Great. Just great.

I ran away as fast as I could. I needed answers and I knew several places I could start, but I could only pick one. Starting with Betty was always pleasant, but usually time consuming. Huck often had good information, but you had to find him first. That left Gek.

Gek was one of those funny kids who always seemed to know everything. He pretty much did only two things: read and exercise. He’d decided at an early age that improving your mind and body were the only two activities in life worth doing, and he’d done them both to an extreme that made Jekyll and Hyde look like identical twins.

He didn’t want money or favors, he wanted information. Obscure, useless trivia was his favorite. You could tell him what time it was and he’d tell you the date, but tell him that Simon Bolivar triumphed over Spain in the Battle of Boyaca on August 7, 1819 and he’d tell you your secret admirer’s name, address, phone number, and your choice of a list of turn-ons or escape routes. I wondered what I’d have to tell him to get what I needed and I suddenly realized I knew too much already.

I pulled the collar of my “wheat” coat up a little higher to ward off the rain, which helped about as much as putting up an umbrella under Niagara Falls. I was going to get the bastard that stole my hat if it was the last thing I ever did.

When I arrived at Gek’s place about twenty minutes later, he was sitting behind a large mahogany desk that had been polished to a brilliant finish reading a book. He didn’t bother to look up at me. I cleared my throat.

“I know you’re here,” Gek said in a smooth, deep voice. Despite that acknowledgement he still didn’t look up and continued poring over his book. After about fifteen minutes he opened a drawer in the desk, took out a leather bookmark, placed it carefully in the book and closed it.

He regarded me impassively. “Now,” he said, finally, “what can you do for me?”

I licked my lips nervously. “I’m here about a guy in a car,” I eventually managed.

“He’s dead,” Gek said, “But you already knew that, so you can just tell me what time it is now.”

“It’s ten minutes after 10:00PM.” I said, checking my watch and cursing my luck. I was hoping he hadn’t heard yet. Someday I was going to figure out how he did it.

“I’m glad you’re here, actually,” he said, unexpectedly cutting to the chase. “There’s something I’ve been meaning to ask you. A little detail I’ve had some trouble unearthing.” He got up from his desk. And that was how I ended up with this behemoth hovering over me like the goddamned Hindenburg.

“I know what you want to know, Gek,” I said. “But I can’t tell you. I can’t tell anybody.”

“Then we have a problem.”

I considered my options. The future loomed over me just as Gek was looming over me now. Considering where I suspected this case was going to go, I’d be able to spill the beans on the whole thing very soon. But I needed to know something about the guy in the car right now. Gek stopped moving towards me and looked thoughtful for a moment. Then he turned, went back to his desk, sat down, and opened his book.

“You have a train to catch,” he said. “It’s pulling into the yard at midnight. I suggest you be there.”

Nice. Nice and vague. And suspicious. Gek never gave away good information for free.

CHOICE: go to the train yard? Try another informant?

 

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The Call of Cthulhu – Sample

The Call of C'thulhuThe Call of Cthulhu – Sample

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It’s hard to believe that we started this production all the way back in 2010. Another casualty of our notoriously long production schedule – BUT! There is starlight at the end of the tunnel! The production is nearly finished and will certainly be released this year and we are excited about ARTC Studio, which should put an end to these interminably long wait times for new material from us.

You can look for The Mark of the Beast and Dr. Geoffry Stanhope, Investigator of Occult Phenomena: The Dweller in the Depths later in May, and we’re ramping up for The War of the Worlds: The Untold Story.

In the meantime, since the stars are almost right, here’s a little sample of The Call of Cthulhu to whet your appetites.

Like Lovecraft? Check out our other offerings!

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30 Years of ARTC – The Man Who Traveled in Elephants

This being our 30th anniversary, we thought we’d dip back into the past and recap some of our previous performances, triumphs and tragedies, in a series of posts. And don’t forget our Chronology! It’s not as detailed, but it really shows the growth of ARTC over the years.

In 1998, ARTC experienced an important moment in its history as we unveiled the first in our Dean’s List series of Robert A. Heinlein adaptations, The Man Who Traveled in Elephants. And, boy, did we go all out. You can see all of the below photos at full size in our Flickr gallery.

First, if you’ve read the story, you may notice that it’s not quite like anything else that Heinlein wrote for the most part. In fact, Bill Ritch and Brad Linaweaver, who were instrumental in helping us get the rights from Virginia Heinlein to do this adaptation, described it as “Bradburyesque,” referring to legendary science fiction writer Ray Bradbury. Wouldn’t it be fun, we imagined, if we could get Ray Bradbury to introduce us?

Ray Bradbury introduces Atlanta Radio Theatre Company at Dragon Con 1998
Ray Bradbury introduces Atlanta Radio Theatre Company at Dragon Con 1998.

So that happened. You can even hear the recording of the introduction on our studio production of the script.* Then, how about a bunch of guest stars. Like maybe Anthony Daniels. Or even Harlan Ellison, a legendary writer in his own right!

Anthony Daniels and Harlan Ellison share a stage with Daniel Taylor of ARTC.
Anthony Daniels and Harlan Ellison share a stage with Daniel Taylor of ARTC.

So that happened, too. And then we’d cap the whole thing off by making it a tribute to the Dean of American Science Fiction himself.

A tribute to Robert A. Heinlein with Harlan Ellison, Brad Linaweaver, and William Alan Ritch.
A tribute to Robert A. Heinlein with Harlan Ellison, Brad Linaweaver, and William Alan Ritch.

The presence of scream queen Brinke Stevens in our opening piece, A Real Babe (by Brad Linaweaver, adapted for audio by William Alan Ritch) was just the icing on the cake.

Scream queen Brinke Stevens in
Scream queen Brinke Stevens in “A Real Babe”.

It was a performance for the ages. It was something nobody on the stage will ever forget.

*The Man Who Traveled in Elephants is currently available for sale exclusively at our live performances. We are hopeful to bring it back to general release in the near future through all of our digital and mail order distributors.

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The War of the Worlds: The Untold Story part 3 of 3

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ARTC Studio in action!

And, at last, we reach the third and final installment of this retelling of the classic science fiction story that has inspired so many others throughout the ages.  Except…

There’s one more chapter left to go. And that’s the one where we go into the studio and make this sound as good as we possibly can. ARTC’s Podcast is a fine example of our work – as one of the few audio drama companies that we know of to perform live, we take pride in this work and want it to have a life beyond the one or two performances we are normally allowed to give it. It’s also a great example of what we do for people who may not be familiar with us.

But it’s just a sample. In the studio we can get rid of feedback, get the exact right inflection, eliminate awkward pauses, make sure the effects are at the correct levels, and the music can really soar!

So if your only exposure to ARTC is our podcast, why not try out a studio production? You can get them here on this website or at Audible.com or Audiobooks.com. We thank you for listening, and we’ll be back next month with another example of the excitement of live audio theatre!

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The War of the Worlds: The Untold Story part 2 of 3

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Foley for War of the Worlds: The Untold StoryWe ended up performing The War of the Worlds: The Untold Story twice in 2013. The debut performance was, of course, Dragon Con, which is where this podcast performance came from.

But the second time was at the Marcus Jewish Community Center, and it was a blast. We cooked up a bit of new Foley since we weren’t going to have to work around convention crowds, and the MJCC sports a top-notch theatre space. We hope to get back there again some time!

In this photo, you can see Foley mixer Larrie Fisher (left), and Foley artists Anthony Fuller, Beth Braunstein, and Jason Boldt (left to right), plus cast member Clair W. Kiernan (downstage). Society has somehow come to the conclusion that the actors are the ones in a performance to be celebrated, but the fact is that without Foley, audio drama isn’t quite as magical and we spend a ton of time developing ours to be as good as we possibly can.

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ARTC Studio delivery and construction

We promised it to you a while back and we apologize for the delay, but good things come to those who wait and so here it is – the long-awaited saga of the delivery and construction of the ARTC Studio recording booth! If you want to see all the pictures, check out our Flickr page!

To begin, we’d like to thank our longtime recording home Audio Craft for many years of stellar work. We’re not done with Audio Craft by a long shot, but the demand for our studio work had grown so great that we really needed a space of our very own.

Here we see the bare room that we’ll be constructing in. There was some brief concern that we’d measured incorrectly and that the booth wasn’t going to fit in here, but as it turned out all was well.

Notice the stained glass lamp in the corner that one of our multi-talented members made!

The first step was getting it off the truck.

ARTC Executive Producer David Benedict poses here with the pallets still on the truck. You can’t really see it here, but the pallets were eight feet long and the truck driver had thought we had a forklift. We’re not sure how they arrived at that conclusion, but at least they brought a truck with a lift gate!

 

 

 

David and ARTC Board member Tony Fuller help the truck driver with the load. Discerning viewers will note a problem with the length of the pallet vs the width and depth of the lift gate.

Getting this off the truck safely was a tough job, but the driver really stepped up and …

 

 

 

We did it! And then we had to do it again, because there were two of these pallets. And then we had to carry all the individual boxes upstairs.

 

 

 

 

 

 

And, as you can see, there were a LOT of boxes. Don’t worry, folks, all that cardboard got recycled and didn’t find its way to the landfill!

 

 

 

 

 

Construction: Day 1

Construction took multiple days for a variety of reasons, most of which involved user error. Here we see David Benedict, Daniel Kiernan, and Bob Brown positioning the floor panels.

 

 

 

 

 

With the floor down, the next step was to position the walls. Here, Clair Kiernan and Bob Brown assess the situation and determine next steps.

 

 

 

 

 

The first major snag of the day. This, ultimately, was what caused us to take multiple days for construction. The instructions said to mount the door frame first, but the screw was stripped when we took delivery. While someone went to get a tool to let us remove it and get a replacement, the rest of us decided to go ahead and put up the other walls. This was a huge mistake, because it turns out that the reason you’re supposed to mount the door frame first is because it has a metal bracket that forces it into the proper alignment. The other walls don’t, and therefore the entire structure was skewed when we put up the last pieces. It took us time to figure that out, and then more time to loosen all the screws, shift things where they should have been in the first place, and then tighten it all back down again.

Here you can see Tony Fuller and David Benedict putting what they thought were some of the finishing touches on the recording booth. Little did they know that there would be at least three more visits to the studio space before everything would be where it really belonged.

 

 

 

 

 

 

 

 

 

 

But eventually it all came together! You can see some of the ventilation on the right hand side. The microphones we bought for the studio are super-sensitive, but the ventilation silencing systems on these booths is actually extremely good and you can barely tell the difference!

 

 

 

And of course it’s still a work in progress. Here’s a preliminary setup, but we’ve got ideas for how to make ARTC Studio even better and we’re looking forward to ramping up production before this month is out!

We’ll be concentrating on finishing up some existing projects, but new recordings are coming, too, so stay tuned!