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Into the Labyrinth part 1

time: 15:24 (7.05 MB)

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A few years ago ARTC had an opportunity to perform a Halloween show for the public.  We try to perform in October whenever possible as it is a month especially suited to our horror and science fiction roots.  Our forte has always been conventions and other semi-private events where our time slot was somewhat limited and so we usually only had time for one feature piece, or maybe a series of shorts.  We always performed them just once.

But when you perform for the public you sometimes have the opportunity to repeat a show or even…dare I say it…have a run of a show.  Furthermore, we were able to expand the time slot to include the series of shorts and the feature piece.  Faced with the prospect of having more material to work with than usual and the fact that very few people had heard of any of our work at the time (outside of our loyal fans…hi, everybody) we felt the need to choose a marketable title for the overall show.  We found one in our own catalog.

Into the Labyrinth was (and is) our in-house imprint for original horror and dark fantasy.  It was one of our first, along with the audio magazine The Centauri Express, and the introduction about the “simple garden maze”, masterfully presented by William Brown, appears on a number of our studio productions.  It seemed appropriate to use the title to help promote our live show of similar material.

As our podcast continues, you will hear many excerpts from various Into the Labyrinth shows.  We hope you enjoy them all.  This week features Mildly Exciting Tales of Astonishment: Sweet Revenge and Nikki’s Place: The Collectors.

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Bumpers Crossroads: Bradbury’s Funeral home AND Armada Rising

time: 30:29 (13.96 MB)

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ARTC presents:

  1. Bumper’s Crossroads: Bradbury’s Funeral Home, Ron N. Butler
  2. Armada Rising, Thomas E. Fuller

From Into the Labyrinth 2005, recorded at Stone Mountain Park, Stone Mountain GA.

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Blues for Johnny Raven

time: 37:04 (16.97 MB)

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This week we bring you Blues for Johnny Raven, by Thomas E. Fuller, starring Daniel Kiernan as Johnny Raven and Megan Jackson as Gloria Kinsolving.  This recording was done at Sci Fi Summer, Saturday May 31, 2003.

This is one of ARTC’s favorite pieces to perform.  It was intended to be a series, and may still be someday.

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The Dancer in the Dark part 1 of 3

time 3:01 (10.54 MB)

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The Atlanta Radio Theatre Company (ARTC) is proud to present a performance performed and recorded live at SciFi Summer Con 2002: Thomas E. Fuller’s radio play, The Dancer in the Dark.

Be sure to check back next Thursday (September 14th) for the second installment.

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There is Adventure in Sound!

Welcome, everyone, to the Atlanta Radio Theatre Company podcast.  It’s been a long time coming, but we’re finally ready to get this show on the road.

Since 1984 ARTC has been producing quality audio drama.  I don’t recall when our first live performance was, but we’ve been doing them for a nice long time now and we’ve got a fairly substantial backlog of recordings.  Some of the older ones don’t have the best sound quality, but we were just learning after all, and we’ve gotten a lot better.

You can find us here at podcast.artc.org. Be sure to tell all your friends.

So sit back, relax, and prepare to enter the world of your own imagination through the Magic of Radio.

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Rory Rammer, Space Marshal: The Meteor Surfers

time: 21:21 (9.78)

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Rory Rammer, Space Marshal: The Meteor Surfers was written by Ron N. Butler and performed live at Dragon*Con 2003.  It features anime voice actor Michael Brady!

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The Future of Rory Rammer

LG:  Lisa Getto, back again with Jack Jolley, producer for the forthcoming “Rory Rammer, Space Marshal” TV project.
JJ:  Good to be here.

LG:  Jack, what attracted you to a “Rory Rammer” revival?
JJ:  Lisa, “Rory Rammer” is a mainstay of American popular culture. It has tremendous nostalgia appeal, while being artistically challenging, action-packed, and thematically relevant for the twenty-first century.

LG:  I see. I think. Will you be sticking to the original series?
JJ:  Absolutely. We have tremendous respect for “Classic Rory,” and will be hewing closely to the original concept, while re-imagining it for a contemporary demographic.

LG:  I — see. So we can look forward to seeing more of Rory, Skip, the Space Marshals, the “Silver Star” — ?
JJ:  Absolutely. Right down the line. Well — there will be a slight title change.

LG:  To what?
JJ:  “Rory Rammer, XTCU.”

LG:  “XTCU”?
JJ:  “Extra-Terrestrial Crime Unit.”

LG:  O-kay. Well, as long as it’s still Rory and Skip —
JJ:  “Lips.”

LG:  “Lips”?
JJ:  Yes, we updated Skip Sagan’s gender. To female.

LG:  Cast the role yet?
JJ:  She’s six feet tall, ash-blonde, with a brain like a positronic computer, and a body made for either lethal, bare-handed combat or passionate physicality, whichever the situation calls for!

LG:  “Passionate physicality”?
JJ:  Let’s just say that she takes a very — personal — interest in her superior officer, as they pursue their undercover mission through the Asteroid Belt, pursued by both The Man and Interplanetary Organized Crime. (Beat) And she doesn’t wear too many clothes.

LG:  Let’s cut to the chase: Are they having sex?
JJ:  That depends.

LG:  On what?
JJ:  On what the ratings look like after the fourth or fifth show.

LG:  And what if that doesn’t, uh — “bring up” your ratings?
JJ:  Two words: Mutant baby.

LG:  Thank you, Jack Jolley, producer of the new “Rory Rammer” —
JJ:  — “Extra-Terrestrial Crime Unit” —

LG:  Look for it this fall —
JJ:  — or maybe spring of 2005 —

LG:  On Fox.
JJ:  Or could be UPN.

LG:  Maybe the SciFi Channel?
JJ:  Possibly at a video-rental store near you.

LG:  “Soon to be a minor motion picture.” Thank you, Jack.

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Musings on Bumpers Crossroads

by Daniel Taylor

I’ve been thinking lately about what exactly BUMPERS CROSSROADS is, and how I do it. This is dangerous. You may remember the story about the centipede who was asked, however did he manage to keep all those feet coordinated. The centipede stopped and thought about it — and couldn’t take another step.

I think BUMPERS CROSSROADS is the most pure expression of my sense of humor that I have ever been able to achieve — part LUM & ABNER, part GARRISON KEILLOR, part NORTHERN EXPOSURE, but not really “like” any of these. I astound myself that I am able to be alternately surreal and silly; to put pathos and pratfalls in the same script and make them work together. I’m very proud of it, and more pleased than I can say that people seem to like it.

When it comes right down to it, I feel pretty good about my writing — almost good enough to explain the favorable reaction BC evokes.

I THINK its appeal comes from the fact that it DOES reflect a distinct perspective, a human voice, not a committee consensus. The fact that it is mine is secondary. Given all the margarine on broadcast television, the relentless pop music on the radio, the determined obsequiousness of the daily newspapers — I think people are STARVED for a discernable viewpoint and personality.

(Especially when it is clearly different from what can be called the Dominant Media Culture’s generally leftist lean. I think that’s why Rush Limbaugh is so popular, even among those who disagree vehemently. He remains an individual person, expressing a point of view uniquely his own.)

Although I hesitate to make the comparison, BUMPERS is essentially me on paper. Woody is the forceful, decisive presence I’ve always wanted to be; Grandpa is the genial, blithe potato I suspect is the best I can hope for; Luke is the distracted state of mind I probably spend most of my time in. And I put these three parts of me in the place I’d most like to live; a small town where you can safely ignore whatever’s going on, secure in the knowledge that empires will not crumble no matter which way the coin falls.

Certain aspects of life will never find their way into BUMPERS, because I don’t find them entertaining. I’ve mentioned the concept of gayness; I haven’t ruled out the possibility of a gay character, though I refuse to write one for the sake of social responsibility. But AIDS will never be mentioned, because it is not nohow funny.

There are also no black characters, and there will likely never be. Communities tend to be homogenous, ROOM 222 and its decendants to the contrary, and I can’t credibly introduce a black character, or explain how he came to be there, in a manner that rings true to me.

Anyway, I intend to stick with what I know. Social responsibility has no place in BUMPERS CROSSROADS. This may limit its appeal in certain markets, but so be it: We (as a culture) are drowning in things that try to be all things to all people. Which was my original point, come to think of it.

All I really wanted to do was amuse myself — but, just the same, I’m glad I’m not making the trip alone.