ARTC returns to the largest free fan experience in Atlanta!
On the docket for this performance: Terrific Park by George Alec Effinger, adapted by Brad Strickland, Rory Rammer, Space Marshal: The Colour of the Shadow Of the Outsider Over the Mountains of Madness Out of Space by Ron N. Butler, three episodes from our series Mildly Exciting Tales of Astonishment by Jonathan Strickland, and a special live performance of Mercury: A Broadcast of Hope!
ARTC makes its debut performance at ConNooga! We’ll be bringing you some Lovecraft with The Colour Out of Space and some Lovecraftian science fiction with Rory Rammer, Space Marshal: The Colour of the Shadow Over the Mountains of Madness Out of Space!
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 Chattacon where we presented A Ship Named Francis, Rory Rammer, Space Marshal: The Angel of Destruction, NOSINET, and SWATting the Books. Check out all the pictures on our Flickr album.
Short update this week, but there’s plenty to see on the Flickr page!
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The Passion of Frankenstein is legendary amongst longtime ARTC members. First performed at Dragon Con in 1998 it has been repeated only four times in our long 31 year history. It is powerful. A freight train of an audio drama, crafted by Thomas E. Fuller to assault the audience with raw power and emotion. And it is a technical nightmare.
The creation scenes involve layer after layer of switches, electrical sounds, dynamos, chains, rain, thunder, lightning, and the frantic shouting of Victor and his assistant Henry, along with the mournful recitation of the Monster’s borrowed poetry. Fuller made extensive use of Percy Shelley’s poetry in the script.
Over 80 individual sound cues go into this hour-long production, not to mention the live Foley sound effects. In 1998 this involved multiple CD players and tape decks, some of which were arranged to play certain sounds on a loop and could be faded in and out to prevent having to cue up those sounds again later. In 2015 we brought it to World Horror Convention, safe in the assumption that modern technology would make the production easier. While it is true that the laptop we ran the SFX from took up less space, it did not help as much as we’d hoped in terms of making the SFX easier to cue.
When you have a piece this complex, you can’t just perform it once, so we will be repeating it in 2015 at LibertyCon and Dragon Con. For the next cycle of podcasts we will be bringing you each of the 5 parts from a different one of those productions, as well as the studio production.
We hope you enjoy it.
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