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Noir in the Naked City – Episode Six: Sexy Sex Sex

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.


Episode Six: Sexy Sex Sex

Ever feel like you weren’t really in control of your own destiny? I feel like that all the time. Little invisible strings pulling at me, tugging at my mind, and sometimes even turning the world around to make sure I go a certain way.

As we tried to shake the car tailing us, Gus, the driver, grumbled under his breath. “What’s it gonna be, you two?” he growled.

“Fine,” Abigail said with poor grace. “We’ll do it your way. Gus, take us to the Empire Night Club.”

Gus grunted in acknowledgement and hit the accelerator. Abigail looked through the back window at the car tailing us and then turned back to me, the look in her pale green eyes turning my brain to a fine, gritty powder and my heart into an alien about to burst out of my chest. There was passion there, but I couldn’t tell what kind. I suddenly felt underdressed.

“Lost ‘em,” Gus said a few moments later, a smug sense of pride in his voice. “We’ll be at the night club in about another ten minutes.”

I shook my head. I needed to focus, but she was making it really … difficult for me. I hadn’t met a dame like this in a long time. Oh, there’d been plenty to turn my head. The Nazi dame who’d recruited me for her new world order had a body that spoke the language of sin as fluently as any I’d ever seen. Women didn’t always find me attractive at first, but I have a few tricks up my sleeve that my extra flexibility helps out with and the animal part of me wanted to show her all of them.

But that was all just physical. Abigail was something else entirely. She wasn’t classically beautiful, but she had a magnetism about her that accentuated all of her best assets. The flaming red hair, cut to a short and severe length, the shape of her legs, lean and strong, in that black skirt that was surely too short for this kind of work, and the way she carried herself, knowing that she could break you, do it slowly, and that you’d enjoy it until the last horrifying moment. And that smile. I had only seen it for an instant when Gus said we’d lost the tail, and even then it was a grim, forbidding curl of her vermilion lips. It was a smile that spoke of revenge more than joy, betrayed more determination than happiness, and hinted at deadly doom for any who dared to cross her. It thrilled me in ways I had figured myself too jaded and cynical to feel, and I found myself trying to think of ways to get her to do it more often.

I shook my head again. But thoughts that had no business on this case kept intruding. I found myself longing to explore every curve and crevice, listening to every gasp and sigh, and feeling the tension and relaxation that would betray her attempts to dismiss me as the stereotypical limp private dick. But I also found myself wanting more than that. I wanted to find that romantic part of her that I knew was buried deep down and nurture it.

At last the car slowed and came to a stop at the Empire Night Club. She got out first and strode towards the door. I tried not to think about what those legs could do besides walk in those ankle-high boots and drive me to distraction. Gus got out next and took a furtive look around.

She turned and saw me still sitting there. “Detective?” she asked, her voice cutting through my reverie. “Are you coming?”

Declining to answer, I got out of the car, shambled to the door, and rapped smartly on the glass. It was eventually answered by a small, mousy guy with spectacles whose lenses distorted his eyes, giving him a perpetual look like a bassett hound that had been cutting an onion. He wore a white shirt, a haggard look, and a tacky brown and blue striped necktie, loosly wound around his neck. A fleeting image of Abigail wearing nothing but that tie slid through my brain and I shook my head again.

After a moment’s pause he asked “What?”

“Ain’tcha gonna invite me inside for a drink?” I asked.

“No,” he replied.  Another pause.

“I’m here about the murder,” I said. Two can play this game, even if some of the pieces are missing and the dice are loaded. Best to keep it simple. Stick to what he can understand.

“Murder?” he laughed.  “Sorry, we’re fresh out of murder.  Come back in a few hours and I can get you a grilled cheese or somethin’”

“You know what I’m talkin’ about, Murray,” I said.

“So what if I do?  Sure, I heard about it.  Sure, I got somethin’ you might find interestin’.  But I ain’t gonna tell you, and that’s out of pure spite.  You had a real good thing goin’ and you blew it, and now you want me to help you?  Well ain’t that just dandy?”

“Look,” I began…

“No, you look.  I don’t remember seein’ my name in the paper about a year ago. It shoulda been there. We all shoulda been there. But we weren’t because you hadda keep your little secret. Well you can take it to your grave now for all I care.  Now get outta my doorway before you scare the customers.”

Murray closed the door roughly in my face and pulled the blind.  A moment later a hand reached through the slats, rotated the sign hanging on the inside from “Open” to “Closed”, gave me the finger, and withdrew.

“Now what, detective?” Abigail asked, the scorn in her voice withering the hopes I’d been nurturing during the car ride over.

“Now you come with us,” a voice said. I turned and saw the Nazi dame. She was dressed to kill and armed to maim with a pistol.

Gus cracked his knuckles. Abigail looked at me. “Your choice, detective. You wanna go with her or go find your brother?”

“Your brother?” the dame said, laughing. “Who do you think told us you’d come here? He’s with us, detective.”

Abigail scowled. “She’s lying, detective. That’s impossible.”

CHOICE: Who to believe? Go with Abigail or with the Nazi dame?

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30 Years of ARTC – Harry Potter at Barnes and Noble 2003

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!

As anybody who has seen us perform live knows, we don’t often go in for costumes. We also pride ourselves on performing original material. But who could resist the opportunity to come celebrate the release of the newest Harry Potter book?? In 2003 Barnes and Noble Perimeter invited us to come bring Harry Potter and the Order of the Phoenix to the citizens of Atlanta. We were competing against parties citywide, but we like to think we represented ourselves quite well against the other (somewhat mundane) readings and magicians that were peppering the landscape at that time.

ARTC in costume!
ARTC in costume!

This was actually a lot more work than you might imagine. First, we had to find a way to make it more like our style of audio drama, but we couldn’t do a straight up adaptation. It’s not our work, so we didn’t feel free to dramatize it the way we would normally. What we eventually settled on was a melding of an audiobook and an audio drama, where a narrator would carry most of the reading and characters would come in as appropriate to speak their dialogue. We did take the step of eliminating many of the “he said/she said” narrations to make it flow a little better.

Casting a spell on the audience.
Casting a spell on the audience.

 

Another big challenge was picking which chapters we wanted to read. Obviously we couldn’t read all of the previous four books, so we picked and chose based on our favorites and also on some scenes that the movies had left out.

Foley for the performance.
Foley for the performance.

Of course we also had live Foley sound effects. It was really gratifying to see the Foley artists get so much attention at this event. Of course we also had a few unwanted sound effects from the coffee bar behind us.

Our attentive audience.
Our attentive audience.

It was definitely an unusual venue, but also festive! We ran contests, did giveaways, and there was trivia. Everybody had an amazingly good time. We could see some adults in the crowd who had some familiarity with our craft having a grand time, plus the kids who had never seen anything like this before were enraptured. Of course some of it was the content, but many of them were enjoying experiencing it in a whole new way.

Jack Mayfield's Harry looks nervous.
Jack Mayfield’s Harry looks nervous.

And at midnight we unveiled the greatest surprise of all. When the boxes were cracked open, we pulled out our own copies and began reading from the first chapter of the new book as the audience broke ranks and made for the checkout counters. I think a lot of them appreciated being able to get a head start on their reading by having us perform it for them while they were waiting in line. Especially since Order of the Phoenix got off to such a dramatic start with a chapter entitled “Dudley Demented”.

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30 Years of ARTC – An Atlanta Christmas 2003

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!

Welcome to the first installment of photos from our performances of An Atlanta Christmas. 2014’s performance will mark the 15th consecutive year of this heartwarming show about Christmas in the south. Originally conceived by Thomas E. Fuller as a series of vignettes that focused specifically on Atlanta and the history of the holidays, the ARTC writers have expanded it to include many of our serials, including Rory Rammer, Space Marshal, Unresolved Mysteries: Solved While U Wait, and Bumpers Crossroads. We’ve got Thomas’s original vision on CD for you (or through our digital distributors) and the expanded edition will be coming out of ARTC Studio in due time.

More photos of these performances will be coming in this series as we go along. You can watch the kids grow up, just as we did!

The ARTC chorus warms up before the show.
The ARTC chorus warms up before the show.
Brad Weage plays a medly of holiday favorites.
Brad Weage plays a medly of holiday favorites.

Music is a huge part of the Christmas holiday tradition, and we work hard to integrate it into our performance each year. Alton Leonard composed the theme song for the set, Old Atlanta Christmas, and provides carols whenever he can. Brad Weage also brought the classics along with him every year. Combine that with our talented vocalists and it creates that warm holiday atmosphere that’s a trademark of this performance.

Our younger performers take the microphones.
Our younger performers take the microphones.

The original version of An Atlanta Christmas was framed by a family gathered around in the living room reminiscing about holidays long past. Finding talented children to play those roles, as well as the roles of the children in the individual stories, isn’t necessarily difficult. The hard part is keeping them from growing up and out of the roles! Each year the producers have to look at the kids from the previous years and determine if it’s time to replace them with the next crop of budding audio dramatists!

Everyone dresses in their holiday finery each year.
Everyone dresses in their holiday finery each year.
More folks dressed up for the holidays.
More folks dressed up for the holidays.

Dressing up for the holidays is always a festive part of the performance. We’ve tried several different things to make the visual part of our medium more interesting for our live performances, but for Christmas it’s never really that difficult. Everyone breaks out the reds and greens and we throw a great big holiday audio party on the stage!

The Foley team enters into the holiday spirit!
The Foley team enters into the holiday spirit!

Plush animals, Santa Claus hats, coonskin caps, and jingle bells traditionally adorn the Foley table. Our usual fare of horror and science fiction often has a mix of recorded and practical Foley sound effects. After all, how do you cast a space ship from the skies of Earth to the orbit of the moon with a table full of sound effects? Sure we could do it, but it adds to the immersive depth of our performance to mix in a recorded effect from time to time. But at Christmas there aren’t as many Martians, there are fewer Elder Gods, and that thing clattering on the roof isn’t a faceless monster, and so we’re able to put the focus on what traditionally sets audio drama apart from other art forms.

Clair Kiernan presents the traditional Christmas poinsettia.
Clair Kiernan presents the traditional Christmas poinsettia.

And what holiday would be complete without the poinsettia. Not sure why the poinsettia is significant? Come see this year’s performance of An Atlanta Christmas and we’ll be glad to tell you all about it. More details coming soon!

In the meantime, be sure to check out the rest of the photos from our Stone Mountain appearance of An Atlanta Christmas on Flickr. We’ll have another set of holiday photos in a few weeks!

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30 Years of ARTC – The Dancer in the Dark, Dragon Con 2002

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!

In 2002 we presented Thomas E. Fuller’s The Dancer in the Dark. We had no way of knowing it, but this would be Thomas’s final performance with ARTC before his untimely passing in November. We led off the show with the presentation of the ARTC Lifetime Achievement Award, with Thomas bestowing it upon Joyce Leigh.

Thomas E. Fuller presents Joyce Leigh with the ARTC Lifetime Achievement Award.
Thomas E. Fuller presents Joyce Leigh with the ARTC Lifetime Achievement Award.

But Thomas was in for a bit of a surprise himself, as David Benedict arose to address the microphone to present a second award that evening. One of the hazards of organizing an award is that sometimes you don’t get it yourself. In this case, we just couldn’t let that happen to Thomas and so the ARTC Board of Directors had voted in secret to present Thomas with the award as well.

Thomas E. Fuller accepts the ARTC Lifetime Achievement Award.
Thomas E. Fuller accepts the ARTC Lifetime Achievement Award.

Following the award presentation, we dove into The Dancer in the Dark.

Brad Strickland and Alton Leonard in The Dancer in the Dark
Brad Strickland and Alton Leonard in The Dancer in the Dark

The Dancer in the Dark was originally written in five half-hour segments. But those of you familiar with our convention shows know that we’re usually restricted to an hour. So Thomas painstakingly trimmed two and a half hours down to one. It is a testament to Thomas’s skill as a writer that he was able to do so and tell the entire story. The narrative details an archaeological dig and their discovery of the Malatowa Mounds. It starts off with a standard story of the struggle between academic exploration and the traditional beliefs of a small town’s residents, but quickly takes a decidedly Lovecraftian turn as mutilated animals start appearing mysteriously. And then the situation becomes much more serious as the Dancer’s last acolyte tries to raise an ancient evil from the mounds themselves.

Live Foley sound effects demonstrated
Foley artists and actors work together as a seamless whole

In the picture above you can see the Foley artists watching the actors closely for their cues. The creation of live sound effects is one of the most interesting parts of our live performances and is always enjoyed by our audiences.

Our technical team and our audience. Two critical componants of a successful show
Our technical team and our audience. Two critical componants of a successful show

And here you see one of the things that makes our Dragon Con shows so much fun: our appreciative audience! Our following at Dragon Con is quite loyal and we’re always glad to hear from folks, some of whom claim that they come to the convention every year just to see us!

Thomas Fuller and Doug Kaye
Thomas Fuller and Doug Kaye

The Dancer in the Dark is one of our favorite pieces and in 2013 we were finally able to release the full five parts on CD and digital download. But the production was incomplete without Thomas, who normally played Sheriff John Bell Hood Conklin. We miss you, Thomas.

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30 Years of ARTC – Camp Wak-N-Hak 2002

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!

In 2002 we were privileged to perform at Camp Wak-N-Hak, a summer camp for children with cystic fibrosis run by Camp Twin Lakes. This was a richly rewarding performance for us, and the kids really got into it. What did we perform? Well, that’s been lost to the sands of time, but we had a blast and that’s what’s really important.

Audience at Camp Wak-N-Hak
Our appreciative audience at Camp Wak-N-Hak

Acoustically, this spacious basketball court was challenging with its high ceilings and hard walls and floor, but once this great audience got seated they soaked up the audio extremely well!

Thomas Fuller and David Benedict look on as Colin Butler addresses the microphone.
Thomas Fuller and David Benedict look on as Colin Butler addresses the microphone.

It’s a pretty good bet that we did an episode of Rory Rammer, Space Marshal.

Phil Carter and Colin Butler perform as the rest of the cast looks on.
Phil Carter and Colin Butler perform as the rest of the cast looks on.

The stage setup was extremely nice. We perform in a wide variety of venues and often don’t get to see the actual performance space until we arrive to set up. We’ve worked around some rather interesting challenges with other people’s sets, cramped stage space, low doorways leading onto the stage itself, and a lack of any discernable stage whatsoever. But Camp Wak-N-Hak had a quality, picturesque space that it was a pleasure to perform on!

William Alan Ritch and Joel Abbott on the technical side of the show.
William Alan Ritch and Joel Abbott on the technical side of the show.

One challenge we sometimes face is placement of the tech. A lot of theatres rely on monitors or booths that are off to the side. Some are so small that they don’t have a designated place for tech at all – they do everything with vocal projection and don’t have any sound cues at all. We do as much live Foley as we can in a show, but we also run recorded SFX when necessary and our experience is that it sounds weird when you play a recorded sound to go with an unamplified voice in a radio play setting. So we always just set up the whole shebang every time and being able to be centered on the stage really helps the techs get a good mix.

Lili at the Foley table.
Lili at the Foley table.

Speaking of live Foley, here we see master Foley artist Lili showing off the tools of her trade. Foley is one of the most charismatic parts of radio theatre and we love to showcase it. We were lucky to be able to have the table up a little closer to the front for this show. Foley is awesome to see, but the space they take up and the sensitivity of the microphones we use usually make placement a bit of a strategic decision.

Ron Butler and Colin Butler in a bit of pre-show prep.
Ron Butler and Colin Butler in a bit of pre-show prep.

Big thanks to Ron Butler for helping set up this amazing show!

You can see the rest of the pictures on our Flickr album!

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30 Years of ARTC – Solution Unsatisfactory, Dragon Con 2001

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!

Last week we brought you the story of Guards! Guards! at Dragon Con 2001. But we’ve been doing two shows at that convention for several years now and the second part of that double bill in 2001 was Robert Heinlein’s Solution Unsatisfactory.

Harlan Ellison introduces Atlanta Radio Theatre Company at Dragon Con 2001
Harlan Ellison introduces Atlanta Radio Theatre Company at Dragon Con 2001

First, we got things started off with a bang by being introduced by the legendary Harlan Ellison. Mr. Ellison has performed with us in the past and we were honored to be graced with his presence once again, even though he did not act with us in this production.

Henry Howard is presented with the ARTC Lifetime Achievement Award
Henry Howard is presented with the ARTC Lifetime Achievement Award

Shortly afterwards we took a moment to present Henry Howard, owner and operator of Audio Craft Studio, with the ARTC Lifetime Achievement Award. Henry’s studio has served us well for years, and he was instrumental in our acquisition of ARTC Studio. He has also produced and edited a huge amount of our work and we make use of his expertise whenever possible.

Thomas E. Fuller performs the iconic opening lines from Rory Rammer, Space Marshal
Thomas E. Fuller performs the iconic opening lines from Rory Rammer, Space Marshal

And we led off the performance with Rory Rammer, Space Marshal! The name of the exact episode has been misplaced, so if you were there, let us know what we did at this show and we’ll edit this to reflect it. But no matter which episode it was, it was a rip-roaring good time!

Daniel Kiernan and David Benedict share a laugh during the performance.
A rip-roaring good time

See? A rip-roaring good time!

Peter David and Alton Leonard in Solution Unsatisfactory
Peter David and Alton Leonard in Solution Unsatisfactory

After the Rory Rammer episode, we got to the main event. In addition to all the other star power we commanded in 2001, we were also joined by Peter David!

A scene in a radioactive room features the actors wearing masks to muffle their voices, just as their characters would be muffled.
A scene in a radioactive room

One scene in Solution Unsatisfactory features the characters in a room filled with radioactivity. They were wearing full lead armor in the script. We simulated that with standard filtering face masks.

Be sure to check out the rest of the album for even more great pictures!

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Noir in the Naked City – Episode Five: Oppression

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.


 Episode Five: Oppression

They say the book of life hasn’t been completely written yet. I see that every day, as new decisions get put in front of me and the consequences of those decisions loom out of the darkness. It’s just one damn thing after another. And the latest one was this new dame who had come to tell me that she had a case for me and that it involved my brother.

“You gonna get up and come with me, or are you going to sit on the floor like a jerk?” the dame said. I sat there like a jerk for another minute, then I got up.

“I need a minute to get dressed,” I said. I was still wearing just my coat and was dripping slightly onto my hardwood floors. If I hadn’t lost the deposit on this place by now, this was probably going to be the clincher.

“Hurry,” she said, glancing at her watch.

“Why don’t you tell me a bit more about yourself and why you’re here while I put something on?”

“My name’s Abigail and I don’t want to distract you. From what I hear, you don’t have the greatest attention span. But I will tell you that your brother has gotten mixed up with the Masked Shadow”.

Now there was a name I hadn’t heard in a while.

A few years ago this city had been a real hellhole that had been run by a syndicate that called itself The Masked Shadow. A melodramatic name if there ever was one, but they made the trains run on time, as it were. The trouble was that they did it by ruling the city with an iron fist and suppressing any thoughts or actions that went against the grain. Of course we’d gotten there by being ruled up to that point by a delightful combination of corruption and chaos, a cocktail of ignorance and apathy that made it really  easy for the politicians to masquerade total control as total freedom.

Bread and circuses had been just the beginning. Soon enough they had created a situation with two allegedly opposing sides preaching diametrically opposite viewpoints that were really just two heads on the same dragon. Which side was in power depended entirely on which way they needed the pendulum to swing to keep the masses off balance and distracted from the fact that, when all was said and done, they were going to say and do whatever they damn well pleased. It was some of the most brilliant marketing the world had seen since New Coke.

So when the Masked Shadow stepped up, it was a breath of fresh air to a lot of folks. Instead of tricking you into thinking you wanted something, they just beat you over the head with a spiked club until you really did want it. Literally. And for some folks that was better than the alternative.

Since then things had mellowed out a little. The Masked Shadow got usurped by religion, as often happens, and people sort of went through an enlightened phase where they realized that if they could just tolerate each other a little better then they wouldn’t need protection in the form of elected officials or spiked clubs to come to terms with their neighbors.

That’s what this damn cat and his bizarro Neo Nazis were out to change. Nobody had seen anything like me before. The chances of a positive reaction were, frankly, slim. Nobody is that enlightened. The potential for complete chaos was high, and there was an excellent chance that both the politicians and the Masked Shadow were sharpening their knives. So their plan was to create a situation where everybody would get along because all the differences were erased, not just tolerated. And they’d be sure to slip in a little extra just to make sure they stayed in charge.

“And what’s this got to do with my brother?”

“I’ll tell you in the car, let’s go.”

When we got downstairs the car’s engine was running, and had some big galoot behind the wheel who looked like he must have gotten his license from a Cracker Jack box, because there was no way he was going to pass the written part of the exam. I could tell, though, that he could drive like a demon. Guys like that always could.

“I hate cars,” I said.

“Shut up,” Abigail replied turning to look out the window. I had to admit. The dame was growing on me. The car pulled away from the curb and accelerated quickly. My insides lurched. I really do hate cars. Unless it was the company that caused that lurch.

“How do you know my brother?” I asked, trying to take my mind off of it.

“I don’t,” she said curtly, whipping her head around to glare at me, her red hair flashing in the headlights of a passing car. “But I know of him through a mutual friend. That’s where we’re going now. Just as soon as we lose this damn tail.”

I glanced back through the rear window and saw a lone car about a block behind us. I didn’t question how she knew we were being followed – I could tell she knew what she was doing. Just then the galoot driving the car swerved sharply, sending me careening into her. She shoved me away roughly and said “Hit it, Gus. Cover’s blown anyway, might as well go all in.”

Gus grunted and shifted gears, accelerating again. “Where are we going, exactly?” I asked.

“Fifth and main,” she replied. “We’re meeting someone there.”

“Bad idea,” I said. “I just came from a murder scene there this morning.” My mind cast itself back to the grisly scene, the number of cops that were bound to be in the viscinity, and the unlikely coincidence that this should be our meeting place. It stank of a trap.

“You got a better idea?” she snapped?

“I know a safe house on the west side of town.”

“It’s not run by that creep Murray, is it?”

“As a matter of fact, it is. The Empire Nightclub.”

“Could you two make up your minds?” Gus asked. “I can’t go in two directions at once.”

Choice: Go to fifth and main for the meetup or go to the safehouse at the Empire Night Club?

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30 Years of ARTC – Guards! Guards!, Dragon Con 2001

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!

In 2001 we had the great honor and privilege of being granted permission to adapt and perform Terry Pratchett‘s novel Guards! Guards!. Many ARTC members are great fans of Mr. Pratchett and being allowed to do this was a tremendous experience for us. The first, and most challenging task for us was to write the adaptation. Our convention appearances typically limit us to a one-hour time slot. Condensing a novel-length work down to an hour of audio was probably one of the most painful things we’ve ever done, especially with a work of Terry’s brilliance.

John Rhys-Davies as Lupine Wonse.
John Rhys-Davies as Lupine Wonse.

As if this weren’t enough, though, we also snagged John Rhys-Davies to play the role of Lupine Wonse! Mr. Rhys-Davies was extremely gracious and a pleasure to work with. His voice added an extra bit of gravitas to our performance. With the incomparable Thomas E. Fuller as Death, Doug Kaye as Samuel Vimes, Brad Strickland as Sergeant Colon, Jonathan Strickland as Nobby Nobbs, Phil Carter as Carrot Ironfoundersson, and Fiona K. Leonard as Sybil Ramkin, this cast was one of the best we’ve ever assembled.

Phil Carter, Jonathan Strickland, and Brad Strickland portray the City Watch.
Phil Carter, Jonathan Strickland, and Brad Strickland portray the City Watch.

The City Watch is simultaneously the comic relief and the crux of the story. We had a wonderful time listening to Phil, Jonathan, and Brad play the roles.

Thomas E. Fuller as Death and John Rhys-Davies as Lupine Wonse.
Thomas E. Fuller as Death and John Rhys-Davies as Lupine Wonse.

This was a dream scene with Death and Lupine Wonse – John Rhys-Davies and Thomas E. Fuller sharing a stage meant lots of deep, resonant voices and a distinct lack of scenery as the two of them chewed it all up!

The Elucidated Brethren of the Ebon Night. As portrayed by Dena Friedman Williams and Bill Jackson.
The Elucidated Brethren of the Ebon Night. As portrayed by Dena Friedman Williams and Bill Jackson.

The antithesis to the city’s Night Watch – The Elucidated Brethren of the Ebon Night, who are attempting to summon a dragon.

Fiona K. Leonard as Sybil Ramkin – a wide scope of expression!

The cast of Guards! Guards!
The cast of Guards! Guards!

The multi-talented cast of Guards! Guards!

Display for the Orangutan Foundation
Display for the Orangutan Foundation

Mr. Pratchett granted us this permission in exchange for a contribution to the Orangutan Foundation! We actually chose to “adopt” an orangutan for our donation. Here you can see our sales table’s display. And look! Cassette tapes!

We were also granted very limited distribution privileges! You can hear this classic performance (that was recorded in the Centennial Ballroom at the Hyatt Regency, so forgive us a few sound quality issues) on YouTube (in five parts) and also on our podcast (in three parts (part 1, part 2, part 3)!

 

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Noir in the Naked City – Episode Four: Rebirth

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 Four: Rebirth

In the baseball game of life, sometimes you get thrown a curve. Other times, though, it’s more of a slider. And then you have to make a choice, and that choice can be the difference between a hit and a swing and a miss. Lately I’d felt like the latter was happening a lot more than I’d like. And currently I was staring straight into the face of a fastball with my name written all over it.

The dame looked at me impatiently. She’d given me a proposition, although it wasn’t the kind I had been hoping for. She wanted me to help her create a master race. And she was right – a change was coming, the likes of which the world had never seen, and soon it was going to be time for everyone to decide whose side they were on. I’d always been on my own side, and that made the decision pretty easy for me. The murder case wasn’t going anywhere anyway. Time to get on with doing something a bit more important than just some poor slob with his throat torn out.

“I’m in,” I said finally. She smiled and looked at the old man with the cat on his lap. I still needed an answer about that, but I figured it would wait.

Looking back at me she said, “Detective, you have made my employer very happy.” She was right. I could hear him purring from here.

“What next?” I asked.

“Now you go home, detective,” the dame replied. “And you must stay there at all costs. Your safety is paramount until we can gather the necessary materials to take advantage of your unique situation. We’ll need some rather sophisticated tissue samples from you, for example.”

An hour later I was back at my apartment with instructions to wait until they got back later to pick me up.

Calling my place an apartment was an insult to the word, but the landlord objected when I called it a fleatrap and calling it an extension of the deepest, coldest pits of Hell tended to put off prospective dates. I unlocked the door, opened it, and fell through face first. I shut the door, slid out of my “wheat” coat, crawled across the floor into the bathroom, shedding the rest of my clothes along the way, and hoisted myself into the tub.  A warm bath was what I needed.  Then I could get drunk.

As the warm water caressed my skin, taking away the aches of the previous night, or most of them anyway, I heard footsteps out in the hall.  Probably the neighbors.  Except that they stopped.  I didn’t have neighbors on either side of me or across the hall.  They were all the way down at the end and I was used to the sound of them coming and going at odd hours just fading away, but these stopped.  And then I heard knocking on my door.  Fighting the urge to recite “The Raven” in my head, I sunk deeper into the water and hoped they’d go away.  Instead they knocked louder.  So loud that I could still hear it even after I dunked my ears under the surface, the water deepening the sound so that it resembled the heartbeat of an elephant, low and resonant.

Please, God, make it stop.

Surprisingly that seemed to work, as the pounding went silent.  I cautiously raised my head up, but heard nothing else. No footsteps. That meant they were still there. Patient. Patient usually means dangerous for me. I slowly got out of the bath and slid quietly across the hardwood floor. I kept it to a smooth shine at all times for just such occasions. When I reached the door I stood up and put my hand carefully on the handle. Tensing up, I yanked the door open and was confronted with a sight I hadn’t expected.

Another dame. This one was about as different from the first one as it was possible to be. A little shorter, her hair a little redder, and she’d shied away from the skintight dress look, which, based on what I could see, was a pity.

“Hello, Detective,” she said. It was at that moment that I realized I was still naked from the bath. I slammed the door, vaulted across the room, grabbed my “wheat” coat, and threw it on. When I felt decent enough to talk to a lady, I opened the door again.

“Sorry,” I began.

“Skip it,” she said, interrupting me and striding into the room without being invited. “I have a case for you and we don’t have time for this.”

A real no-nonsense girl. But I had bad news for her. “Sorry,” I said again, “but I just sort of retired.”

“To go to work for the jerks who want to create a master race, yeah, I heard,” she said, plopping herself down in my favorite chair.

“Sure,” I said. No point in denying the truth when it’s thrown in your face.

“Forget them. You’re going to want this case. It’s going to make you a new man. And we have to leave right now.”

“Why’s that?” I asked. “And I can’t go anywhere. My new employers told me to sit tight.”

“Detective,” she said impatiently, “this case…it’s about your brother.”

I fell down on the floor. That happens a lot in any case, but in this case it was because I’d forgotten I even had a brother. It had taken me a long time and a lot of booze to do it, but I’d finally managed it and here was this dame coming in here reminding me. The way she’d made herself at home told me that there was no way she was going to just take no for an answer, and she didn’t seem inclined to discuss it. I could throw her out physically and call the cops or I could go with her and find out what was going on with my brother…which meant that the master race folks were going to come looking for me, probably in an unpleasant manner. And I had to decide right now.

CHOICE: Sit tight and wait on the dame to continue creating a master race? Follow the new dame to investigate his brother?

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30 Years of ARTC – All Hallows’ Moon, Dragon Con 2000

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!

Continuing our annual appearances at Dragon Con, and 2000 was a real doozy. First, it included one of Thomas E. Fuller’s best original pieces, All Hallows’ Moon. But we were also priveleged to perform an episode of Ron N. Butler’s Rory Rammer, Space Marshal series, The Queen of the Spaceways with Ted Raimi, Alexandra Tydings, and Claire Stansfield! All that plus Zap thy Neighbor by James P. Hogan, and you’ve got a stellar lineup!

Doug Kaye, Fiona K. Leonard, and Thomas E. Fuller set the scene in
Doug Kaye, Fiona K. Leonard, and Thomas E. Fuller set the scene in “All Hallows’ Moon”

ARTC doesn’t normally do costumes. It’s actually a long-running debate within the company – how to create visual appeal for a medium that doesn’t normally rely on visual appeal at all! But when you’re performing live, the audience expects to be able to see something and asking them to close their eyes can lead to inopportune snoring, so occasionally we give costumes a try.

David Benedict, Ron N. Butler, William L. Brown, Doug Kaye, Fiona K. Leonard, Daniel W. Kiernan, and Thomas E. Fuller portray the inhabitants of Mother Lode, New Mexico.
David Benedict, Ron N. Butler, William L. Brown, Doug Kaye, Fiona K. Leonard, Daniel W. Kiernan, and Thomas E. Fuller portray the inhabitants of Mother Lode, New Mexico.

Here’s another example of the costuming work for this piece. We have been very lucky to have a number of professional costumers work with ARTC in the past to help us on occasions such as this.

William L. Brown accepts the first ARTC Lifetime Achievement Award
William L. Brown accepts the first ARTC Lifetime Achievement Award

In 2000 we also debuted the ARTC Lifetime Achievement Award for excellence in audio. Presented first to ARTC founder William L. Brown and informally known as the “Brownie”, the award was renamed as the Thomas E. Fuller Lifetime Achievement Award in 2003.

Ted Raimi, Karen Barrett, and Claire Stansfield perform in
Ted Raimi, Karen Barrett, and Claire Stansfield perform in Rory Rammer, Space Marshal: Queen of the Spaceways as Alexandra Tydings waits for her cue.

We also had the great honor of performing with three of the stars of Xena, Warrior Princess that year. Ted Raimi hammed it up as Rory Rammer, turning in an uproarious performance…that also happened to be about half an hour longer than we’d scheduled it for! Claire Stansfield and Alexandra Tydings were also spectacular in the roles of Michiko Sakai and Aphrodite DeHavilland.

Alexandra Tydings and Ted Raimi
Alexandra Tydings and Ted Raimi

This performance is still recalled fondly by those members of ARTC who were lucky enough to be present.

We hope you’re enjoying this look back at ARTC! If so, let us know! And don’t forget that your support is extremely important. Tell your friends! Tell your family! Buy a CD or make a donation!