UNIT FORTY-ONE: Radio Drama Production

Task One - (P1,M1,D1) The History Of Radio Drama:

How Old Is Radio Drama? When Did It Reach Its Peak?
Radio drama is more than 80 years old now, and it started in 1927. It peaked in the 1940’s and was national leading entertainment for most households, however with the creation of the television around the corner, it lost some of it’s popularity in the 1950’s.

What Did Networks Start Doing In 1927?
In the 1920’s stations started to develop radio programmes using narrators, and in 1927 radio drama was created when networks began using original scripts and adapting stories to make them suitable for radio broadcast.

What Happened In The 1930’s?

In the 1930’s national advertisers recognised the potential for radio advertising and started to sell air time and sponsor programmes, this lead to the development of new programme forms such as advice/interview programmes, ‘soap opera’ style dramas, and dramatised news programmes. And as daytime serials grew in popularity, schedules were developed for radio stations. Even programmes with cultural appeal such as country music were added on to radio. Amos ‘n’ Andy also developed a radio drama that was so popular it survived through to the TV era.

What Effect Did The War Have On The Radio?

In the early 1940’s, the radio programmes started to reflect America’s involvement with the war, and as a result of this the number of news broadcasts almost doubled, but as listeners grew tired of hearing about war news, drama started to peak, and became a favourite amongst listeners. By the end of this period, 47 hours a week were being dedicated to dramatic programmes.

What Effect Did Radio Drama Have On The Early Years of TV?

When the television was first brought out, not many homes could afford one, so the costs of production had to be controlled, and it was risky and too expensive to create new shows, and so the popular radio shows at the time, were transferred directly on to television.

Does Radio Drama still exist in the UK?

Radio drama does still exist in the UK, and is often played on national radio channels such as BBC Radio 4 and popular drama shows such as ‘The Archers’ are still a hit today. As well as radio drama, BBC Radio 4 also broadcast programmes including current events, news, history and comedy. Successful radio drama’s that are still around today in Britain include The Archers (Radio 4), Silver Street (Asian Network), Westway (reruns on World Service), The Twilight Zone (re-runs on BBC Radio 7) and smaller series’ of drama such as South Riding (BBC Radio 7).

Task Two - (P1,M1,D1) War of the Worlds Magazine Article:

War Shocks World – W.O.W

On the 30^th of October, 1938, Orson Welles shocked America and outbreak was caused when 1.7 million listeners believed that a broadcast of ‘War of the Worlds’ was actually happening and that ‘Martians’ were taking over . Insight of this, people began trying to ‘escape’ the ‘invasion’ whilst some ‘went into hiding’ and others ‘prepped their guns for the fight’; what ever the reaction, panic attacked the nations of America.

The adaptation was written and directed by Orson Welles, which ultimately brought him to fame. The drama was made up of news interruptions claiming that explosions have been sighted on the planet Mars. At the time the world was on edge with anxiety concerning the lead up to World War II, and so people foolishly chose to believe it was true, ignoring the introduction to the drama, which lead to panic and delusion including people thinking they could smell gas and see flashes of light in the sky. It was rumoured that around 6 million people heard the broadcast and 1.2 million people were genuinely frightened by the transmission. The ‘performance’ up roared such publicity that within a month, over 12,500 news articles were written about the impact it had over America (although it was later revealed that it may not have caused as much as an explosive wave of panic as the papers had earlier claimed). At this point in time, nothing like this had ever been attempted on radio before, and so listeners were accepting the regular news bulletins that they were hearing, which caused some confusion amongst many.

News of the transmission, seemed to trigger some ‘urban legends’; some people reported to be rushing to the ‘site of a meteorite’ which was believed to have landed somewhere near Princeton University, others reportedly shot at a farmer’s water tower mistaking it for a ‘Martian tripod’ and the rumours went on. However in Washington the broadcast seemed to cause even more up roar than in the rest of America at the time, due to a power failure which steeped more than 1,000 people in darkness and the reactions of the people of Washington were said to be the most extravagant; rumours suggested that some drove away and headed up to the mountains away from the chaos whilst others were grabbing their guns ready for battle.

The following day of the broadcast Orson Welles apologised in a press conference stating he was simply “surprised by the reaction” and that “radio is new, and we are now learning the effects it can have on people”. In the aftermath of the reported panic amongst American homes, Welles was let off without punishment and in 1940 Orson and H.G. expressed understanding and solemn towards the situation in a radio interview. Since then, many adaptations of War of the Worlds has been done, on radio, television and film including a box office hit starring Tom Cruise directed by Steven Spielberg.

To this day, the way that Orson Welles WOW-ed audiences with his controversial drama is still remembered and talked about, and will forever be a mark on the history of the growth and significance in technology and radio.

Task Three - (P1,M1,D1) Analysing Radio Drama:

THE ARCHERS:

This radio drama goes under the genre of ‘soap opera’ much like those on television such as Coronation
Street; it continues episode from episode and omnibuses are aired on Sundays. The target audience would most likely be 30+ and would appeal to both genders, for example old couples will sit and listen to it together. The audience would most likely be between middle to upper class. With it being a soap opera there are many different characters and on radio voice is the only insight to the character and their emotions (such as hesitation in their voice would signify that something was wrong) therefore to distinguish between the different characters the range in pitch, tone, texture, dialect and accent is vast. Some have very regional accents, much like a stereotypical farmer would be expected to talk (which 
gives the listener an insight to where the person may have come from), and others talk with a velvety smoothness and pronunciation in their words. The tone will also vary with the emotion or mood of the character for example in an argument between two people the tone will be annoyed and confrontational, whereas passing someone in the street may be cheery and welcoming. The volume will usually stay constant unless it is intentional for example if two people were having an argument then the levels of volume would be raised to show the tension in the conversation and the heat in the squabble. The ambience in the different scenes of the drama are created well with sound effects, for example in the back ground in one scene there was some tea cups clattering therefore connoting that they were in the kitchen talking and having tea, other sound effects used were birds tweeting (signifying that they were outside, which could lead to extended signification that they were perhaps in the garden and that it was a sunny day, may be even in the morning time), doorbells which obviously connoted there is someone at the door (who is most likely to be introduced to the conversation) and in the scene the character looks out of the window to identify the person which lets the listeners know who it is in a subtler way. The difference in the quality lets people that people are on the phone (as well as the ringing phone and the answer ‘hello?’) and characters start conversation with peoples name for example ‘Oh hi Tom!’ to let the listeners in the know about who is entering the conversation. This sort of drama, in terms of the uses and gratification theory, would be used for diversion as it is a serial drama, and used possibly for personal relationships and personal identity for people who may see themselves in the same situation.

KNOWING ME KNOWING YOU; I’M ALAN PARTRIDGE:

This speech package goes under the genre of spoof comedy much like those on television such as The Office. The target audience would most likely aim at anything above the age of 17-18 as the jokes and humour can be quite offensive, ranging till possibly 40’s, it may aim at men more because of the ‘dirty’ British humour that is used by Steve Coogan and some women may see it is as offensive and sexist (the oppositional reading) and the class would range from middle to upper, as I think in this sort of spoof, knowledge and understanding is needed, and I think the upper class will have the intelligence to understand it and find it funny in the way that is intended (preferred reading). The mode of address is very informal, cheesy and chatty which are all the conventions of a spoof comedy, the accent in his voice is from outside London and is distinguishable making it easy to identify him which is key in radio, he over accentuates and over exaggerates in the way he speaks to emphasise the cheesiness of the spoof (to really take the mick) and which also adds to the comic effect (of the funny voice that changes pitch every 5 seconds). The character of Alan Partridge himself is everything that you would expect a spoof comedy presenter to be (following the codes and conventions to a tee) just to name a few he is extremely rude without knowing it, he is sexist, will insult anyone including the royal family, and makes it clear that it is his show and uses stereotypes. The ‘spoof’ and comedy element is really anchored in the way that the drama is presented and the humour is very strong and out there (meaning there is no place and person he won’t insult). In this particular episode the guests he has chosen to use are American which contrasts to his English Londoner accent in juxtaposition, but all the while still has a variety in pitch, texture and tone to distinguish between the American guests. The volume levels are quite constant, although are still louder than normal to accentuate his bubbly and loud persona. The laughter in between lines signifies the spoof element of the drama making it noticeable when the jokes are being made (even though it is quite clear) and it gives the impression of a live audience almost making it funnier (just because someone else finds it funny and the listener will laugh along). This is also done through the applause that the ‘live’ audience provides. The music used also anchors the genre of the drama, the bouncy comedic music fits perfectly as a conventional expectation of the genre. In order to make a successful spoof, knowledge of the original genre is key and the show is portrayed as knowledgeable and is classily done, the maker assumes that the audience understand what a normal chat show is like which anchors all of the codes and conventions that are used throughout the show. The show and the presenter (also write of the show) takes things to an extreme of spoof by even using ‘product placement’, fan letters and comedians that aren’t funny – again following the conventional expectations that are seen as ‘typical’. The presenter is juxtaposed not only through the difference in accents by the guest presenter but also by the rudeness that he portrays in comparison to the niceness and friendly manner shown by the guest. This sort of spoof comedy would definitely be used for diversion in terms of uses and gratification theory. This type of genre will be used mainly for entertainment purposes, it could also be used for personal relationships as points of conversation and it is the sort of comedy that people quote from and laugh about with their friends.

SOUTH RIDING:

This radio drama goes under the genre of a drama (series) much like those on television like ITV drama’s such as Above Suspicion. The target audience would be 30+, possibly those who have seen the television series of the show or read the book, or have some sort of knowledge of the story, the target audience could range till 50’s/60’s as this audience seem to be the primary audience for this sort of crime/past time drama. The social class would be working middle class to upper as I think it is an intellectual detailed sort of drama, who would aim better at working middle class and above. With the piece of drama involving a number of characters, the variation in their pitch, accent, tone and texture is vital to be able to distinguish characters as the voice is the only thing that will make it clear to listeners who is who. The pitch and tone may change in the characters voices when the mood or topic of conversation changes, for example in one particular scene between two of the characters, it is very emotional and tense ranging from hurt and angry emotions, and the voice is very important as listeners are only able to tell what the characters are feeling through the emotion that is portrayed in the voice which can give the listener imagery of how the actor is feeling and possibly how their facial expression looks; so panic in their voices conveys heated conversation without the need to look at their body language and facial expression; which is the true genius of radio drama. When the scene changes it is made clear by the change in the ambience and the noises heard in the background for example one minute there was seagulls and blowing wind in the background (which sets the scene of somewhere near the sea, and extended signification could lead to assumptions such as it was cold and dull weather, near the sea on a morning) which transitioned into a choir singing with light chatter in the background and as the characters walked during this scene the noise of the choir singing got fainter and fainter showing distance and imagery as the listener is able to picture them walking away. The levels of volume are quite consistent and appropriate, however whilst being appropriate the levels will change according to the emotion and so if someone is telling a secret and upset they may lower their volume to convey their emotion whereas in a heated argument the volume will go up to signify the mood change and emotion. Ambience in this radio drama is not only created by the background noise and sound FX but can also be done by the silence, which creates equal ambience and tension in a scene. When emotional, the variation in tone and pitch and volume is vast, which signifies the deep emotion felt, and in radio drama people tend to be more honest and speak their feelings aloud in order to get it across to the audience more appropriately, as every other form is unreadable except voice. This sort of radio drama would be used for diversion, in regards to the uses and gratification theory, but could also be used for personal relationships, and possibly even personal identity as in this particular episode it is about loosing someone close to you.

Task Four - (P1,M1,D1) Exploring Different Genres:

Task Five - (P1,M1,D1) Mind Mapping For General Ideas:

IDEA ONE: My Idea

IDEA TWO: Fairy Tale Twist

Task Six -(P1,M1,D1) Proposals:

(DRACULA-A-A-A)

My idea is a drama based around a series of killings going on in the UK which are being done by Dracula. The story will be based around following two reporters who are looking into these murders and ultimately come face to face with the killer themselves. I will be creating this piece through the genius of eerie music and creepy sound effects. In terms of genre it will be a horror/thriller type of drama. I am basing my primary target audience of 13-15 as I think this age group are going to be more likely to be interested and intrigued by the story line. Taking this into consideration I think that my drama should be broadcast around 3-4pm in the afternoon, so that pupils will be able to listen to it on their way home from school. My secondary target audience would range from 16-18 as I think this age group may also be accepting and young enough to find the characters likeable and the storyline believable and show an interest in it.
The manner of the characters will be very informal and casual so people will be able to relate to and understand the way that they talk. I will not be using a narrator as I do not think that there is any need for one as the narration and conversations between the main couple give enough information to the audience and at the end the true killer is revealed in a confrontation with the two main characters. Even though information will be given through conversation and news for the audience to get the gist of what is going on, enigma will still be created by the mystery of the killer (and the dramatic irony even though it isn’t hard to guess what kind of creature is doing it).
The drama will be one episode as a one-off piece of radio, although the ending and character of the Dracula will leave it open so that there is room for follow-ups or similar drama’s involving the character. I expect it to be between 5-7 minutes long when I have finished the whole thing from beginning to end. Believable sound effects will be used to generate the atmosphere and eeriness that I want to be portrayed in my piece to get the preferred reading (which is to find it creepy and to want to know more about the Dracula). The main characters Marco and Gerry will be very likeable, as will be the Dracula with his cocky manner and approach to ‘playing with his food’.
I already have someone to play the part of the Dracula character but auditions will be held for the other two main roles Gerry and Marco, and the places will be given to the people who a colleague and I feel does the role the best justice. There may be some representational issues as all three characters will be male however I do not think this will be a problem or affect the audience in a concerning way. To compensate for this and to avoid other representational issues, all other minor parts will be played by females.
I believe that my radio drama would be more appropriate for local or regional radio stations as oppose to national radio stations such as BBC as I feel that the preferred reading would not be received as well if was to be broadcast on such a widely listened to station. Radio Aire (Leeds) or PGFM would be more appropriate for this drama as I feel it would not be well suited for all audiences which are listened to by a too wide of an audience. On these kinds of radio stations this sort of drama genre isn’t played often or if at all (Radio Aire) and so I think that broadcasting my drama on these stations could widen the variety on content on the stations which could bring in new listeners and audiences catering to a wider boundary of needs.

(SUSAN WHITE)
My idea takes the conventions and codes of the original Snow White and the seven dwarves and turns it on its head in a modernistic and perplexing manner. I will complete this in my piece through the medium of voice, detailed script and sound FX alone. The genre of this piece will of course be fairytale (as it will still have some similar conventions i.e. a happy ending) whilst combined with an essence of drama and spoof. The tone will not be as light hearted as the original story, and will be slightly darker, putting modern and opposing twists to the storyline. It will be Snow White meets Britain’s Got Talent. The primary target audience will be of 13-19, however the secondary target audience will range from 20-30, this is because a basic knowledge of the original fairytale is a necessity to understand and enjoy the updated version, and I think that teenagers of this age will be more accepting and enjoy the spoof-like updates as oppose to older adults who may find the changes un-funny and disappointing in comparison to the genuine version they may remember and are fond of. Bearing this in mind, I would suggest that it be broadcast around half five, around the times that students of these ages would be travelling home and eating dinner, and could listen to it on the radio.
I will use an informal manner in order to make it easier for the target audience to be able to relate and understand the storyline better; I will also use a modern update on the language to again make it easier for the audience. I will use a narrator to present information about what is happening and to keep to the feeling of it still being a fairytale, to make it clear to the listeners what is happening. I will use a linear, single stranded narrative to keep it similar to the original storyline in the sense that it is still supposed to be a fairytale.
The sound effects that I will use will be made by me, along with the help of others, for example walking in gravel, or breaking twigs for the woods; these will be done by me, as oppose to generating them from garageband, which may sound more artificial, and I want my drama to sound as real as I can make it. And I will be using a range of different voices to make it clear who is who, so that without introduction, the audience will know who is talking each time.
Auditions will be held for the main characters and I will make a decision based on these, as to who will be reading each part. I will get a friend to help me to get a second opinion and make sure I have made the correct choice. I will be using both male and female voices for the appropriate parts to avoid representational issues. There may be some issues with the references I make to Britain’s got talent, such as ‘Susan’ and ‘Cowell’ but I am hoping that seen as it is supposed to be seen as spoof like and comedic people won’t take it as being offensive.
I think that my radio drama would be more suited to local radio as oppose to national radio stations such as the BBC, I think it would be more suited to stations such as PGFM and Radio Poplar, or possibly even Radio Aire who broadcast mainly in Leeds. The reasons for choosing these stations are that I think this sort of drama that hasn’t been aired on these stations and the new contemporary features could bring in new listeners and would vary the content giving audiences a wider variety of things to listen to. I will ensure that my radio drama is of a high standard of quality so that it sounds professional enough to be broadcast on radio, for this I will use garageband to do the majority of the editing.

Task Seven - (P1,M1,D1) Treatments:

(DRACULA-A-A-A)
‘Draculaaa - Drained’ is a one off radio drama piece that is set for a primary target audience of between 13-15 and a secondary target audience of 16-18 year olds for both males and females. The story is based around two best friends called Gerry and Marco (roommates), who are both news reporters working for the same company, investigating and reporting on a series of suspicious murders which involves the victims being left drained of blood. As the story progresses more and more killings are being done and more news and media coverage is attracted, Marco and Gerry become very attached to these happenings and begin to make their own speculations about who is doing them and start to do some investigating of their own. However, unbeknown to them at the time, they accidently stumble across the true identity of the killer when Gerry mistakes an address (written down by a co-worker for news coverage story about an old abandoned mansion for the next day) with a formal dinner invitation (address) and they succumb to a confrontation with the real killer which ends in screams.
The interest in the story would come from the curiosity that would be triggered by knowing what this drama was about or by listening to the attention grabbing opening. I hope that the opening will create enigma and intrigue that it takes to want to listen to the rest of my drama and by it being a success would trigger, in terms of the uses and gratification theory, personal relationships which would boost the drama and make it more popular through word of mouth. I think that my drama would also be used for diversion mainly as it is purely entertainment and features no truth, which makes it easier to believe and like, and with all of these things combined will hopefully make it a success. I think that a good number of people will be able to relate to the characters (e.g. Gerry being forgetful) but on the other hand the element of fantasy (Dracula) and imaginary villain may make it hard to relate to, however I do not think that this will be a problem as I have mentioned it would be used for mainly diversion purposes to entertain.
The Dracula will be portrayed in a cocky yet terrifying way and this character will only appear and make himself known in the last scenes of the drama, to create the suspense and keep listeners interested. The other two main characters, who the drama is based around, are news reporters together and live together as best mates. Gerry will be portrayed as clumsy and forgetful who is easily mixed up (which will lead to the fate of the confrontation) and Marco will be conveyed as the spontaneous, stronger one of the pair who shows the initiative to start the investigating themselves into the mysterious killer and, even though notices there must be some kind of mistake in addresses, decides to look around out of curiosity. Other small parts such as colleagues and shopkeepers are less significant but keeps the story flowing and contribute to the way things end up. There will be no need for a narrator as all the information is provided by the narrative and the enigma will be created through this also.
Due to the fact my drama will be a one-off (although with the possibilities of follow ups and re-appearances of the character ‘Dracula’) I think that after its original broadcast it should be repeated every now and again and possibly broadcasted on local stations up and down the country.

(SUSAN WHITE)
Susan white is an adapted version of the original fairytale, as a radio drama, for a target audience between the ages of 13-30 all both genders. The story is loosely based on the classic Disney adaptation and Brothers Grimm fairytale of Snow White and The Seven Dwarfs. I have chosen to change some of the storyline to make it into a kind of spoof with references to Britain’s Got Talent. So instead of the evil being the nasty Queen, the antagonist in the story is going to be Sorcerer Cowell, who is obsessed with being seen as the ‘fairest of them all’ and who tries to convince Susan to try out in one of his talent shows. Susan White is an unknown ‘nobody’ with the voice of an angel, who is quite content with being a ‘nobody’ but due to the encouragement of seven helpful dancers agrees to audition. The interest in the story would come from the changes that I have made which will generate intrigue, and turn into an audience as they will want to know what happens as the story progresses. I also think that the audience may also find the modern updates perhaps comical if not cleverly witty and appreciate the changes and irony.
With it being a fairytale spoof I don’t think many people will be able to personally relate to the characters; however I do think some relation will be apparent as my preferred audience will have a good bank of knowledge of BGT which will in some way mean they will be able to speculate and understand what is happening and in terms of the uses and gratification theory it will mainly be used for diversion as a form of entertainment and through possible personal relationships as a point of talk in conversation between people who have seen it and who perhaps haven’t (which would also work as a form of advertising through word of mouth).
Susan White will be portrayed as a naïve ‘nobody’ and ugly yet talented person (I wanted to do this to juxtapose Susan White’s looks with her ability to sing as a contradiction between talented and unattractive) who is used to living an un-luxurious life in Cardiff, however recently her jealous sister sent her voice recorded to Sorcerer Cowell who calls her and wants her to audition in one of his famous talent shows. The Dancers are the general helpers in the film who in turn steal the show in the plot by winning the contest and humiliating Susan. The ‘Prince’ Charming is in fact a doctor at the rehab clinic which she ends up in, who saves the day and herself. Just by knowing the characters the storyline unfolds nicely, the plot line is similar and slightly predictable when knowledge of the characters unfolds but I think the irony of the changes will be what makes my drama successful. Even thought this fairytale is less than ‘fairy-like’ I think the modern changes will be what will make it great.
Due to the fact that my drama will be a one off I think that it should be broadcast at drive time when most people will be listening, in the middle of the week to guarantee people will be travelling home from work, or sat down eating dinner. I also think that my drama should be repeated every now and then on local radio stations up and down the country.

Task Eight - (P1,M1,D1) Scripting:

DRACULA-A-A: DRAINED

MAIN CAST

• GERRY - a news reporter who is often forgetful and easily confused
• MARCO - also a news reporter (best friends with Gerry) who is spontaneous and intelligent

• DRACULA - a vampire who has recently moved to another town to kill
SCENE ONE: TELEVISION STUDIO DURING LIVE NEWS REPORT
NEWS JINGLE/INTRO

GERRY: And welcome to the six ‘o’ clock news, it’s the 20th April, I’m Gerry Turner and this is Marco Armstrong.
MARCO: We join you this evening with disturbing information, in the outskirts of London near Camden Town; two young men were found dead this morning abandoned in a clearing with puncture wounds in the arms and neck.
GERRY: They were completely drained of blood, and the local coroner has announced these deaths as suspicious, he also commented that these deaths are very similar to the teenage girl found just over a week ago around the same area. But not enough evidence has been found to confirm that these were done by the same animal. Which animal; the police are still unsure of.
MARCO: We are now going to cross over to Camden to our reporter Gail Weathers who is joined by the London Police Chief; James Barratt who is going to talk about the deaths in more detail…
SILENCE
COLLEAGUE: THREE, TWO, ONE! (YELLED FROM DISTANCE)
(CLACKER)
COLLEAGUE: AND WERE OUT! GOOD JOB GUYS! YOUR FREE TO GO, SEE YOU MONDAY (YELLED FROM DISTANCE)
GERRY: Oh pheww! Thank goodness for that, what a depressing story though eh? What you think about that? (SLIGHTLY LESS PROPER THAN BEFORE) (SLIGHTLY SHOCKED)
(PAPERS RUFFLE IN BACKGROUND) (CHAIRS SLIDE OUT FROM TABLE AND ARE PUT BACK)
MARCO: Oh I know right? I thought the teenage girl was bad and now they’re thinking they might be related, it’s getting all too much for me I think. Enough depressing news for one day, how about we go home and crack into that crate of Becks? Huh? (ALSO SLIGHTLY MORE CASUAL)
GERRY: (SCOFFS IN DELIGHT) you know me so well!
(FOOTSTEPS INTO DISTANCE)

ONE WEEK LATER – SCENE TWO: AT THEIR HOME
(RADIO PLAYS IN BACKGROUND)
MARCO: Hey Gerry! Over Here?! (URGENT)
(FOOTSTEPS GET CLOSER)

GERRY: Yeah? What is it? (CURIOUS)
MARCO: Well have you seen the paper this morning? Look!
(RUFFLING PAPER, SLAPPED ONTO TABLE)
MARCO: There has been another one of those weird killings! Look! I’ll read it to you…

(CLEARS THROAT)

READS PAPER (RUFFLES IT): Yesterday on the 27th of April, a man in his early twenties was found in the early hours in the morning, completely drained of blood in an alley way near Beckett Drive in Camden… (INTERUPTED)
GERRY: GASPS! That’s only twenty minutes away! (DISTRESSED)
MARCO: I know! Shush! There’s more! CONTINUES READING FROM PAPER STILL RUFFLING IT: It says the puncture marks were only around the wrists this time, and the victim was bruised showing signs of struggle, so he must have put up some kind of fight…
GERRY: INTERUPTS AGAIN…or tried to at least (WORRIED)
MARCO: Well we’re due in work later, Mandy called a bit ago when you were in the shower; they want us to cover the six ‘o’ clock news again, I bet she wants us to cover this story. (SUGGESTIVE)

GERRY: You know… I bet your right
MARCO: I know, maybe we should head over to this alleyway, get a good insight into the story, maybe see if they’ll let us talk a policeman, it says in the papers it’s still all closed off as a crime scene! It’ll look good for the bosses, might even let us go full time if we use our initiative? (HOPEFUL)
GERRY: OOO! (PERKS UP) Well, if it might get us a more permanent slot then why not, no killers gunna be hanging around the crime scene in the middle of the day now are they? (SARCASTIC) No harm in trying now is there?
MARCO: Of course not! We may as well go down there now, see what the crime scene is like, and see if anyone is willing to give any information.

SCENE THREE: CRIMESCENE
(BIRDS TWEETING, CARS IN BACKGROUND FROM ROAD)
GERRY: Oh I dunno, actually seeing it has made me a bit iffy, they’ve still got the tent up and everything, it’s all shut off!
MARCO: That’s generally what crime scene means… (SARCASTIC)
GERRY: HA HA funny! (SARCASM)
MARCO: Oh come on! At least come with me, I wanna ask one of these coppers if they’ll tell us anything
GERRY: Oh fine!

(FOOTSTEPS)
MARCO: (CLEARS THROAT) Excuse me?
POLICEWOMAN: Err sorry, this area is closed!
MARCO: Yeah I know, umm, it’s just I’m a news reporter on the six ‘o’ clock news, and I think I’ll be covering it tonight and I was just wondering whether you could share any information to give me a better insight to what we are dealing with here?
POLICEWOMAN: No I’m sorry, no information can be given out at the moment, and I’m under strict instruction not to say anything.
MARCO: Oh (DISAPPOINTMENT) ok then, not to worry, guess I’ll just have to read it from the autocue (SIGHS)
FOOTSTEPS – CARS ON ROAD
GERRY: Pfft, well that was a waste of time wasn’t it?
MARCO: Not really, she was kinda hot, I might ask in that convenience shop over there, it says open 24 hours, see if they saw anything?! (ONCE AGAIN HOPEFUL)
GERRY: Maybe, I suppose it’s worth a shot
FOOTSTEPS, DOOR OPENS – BELL JINGLES (FAINT MUSIC)
SHOPHELPER: Can I help you sir?
MARCO: Possibly, were you the one that worked the shift a couple of nights ago? When that guy was killed out in that alley?
SHOPHELPER: Umm yeah I did that shift, got kind of eerie too, the streetlight over the alleyway blew up, and I heard someone shriek. I was too creeped out to go investigate to I left it. (PAUSES) I’m sorry, who are you?
MARCO: Oh I’m sorry, I’m Marco and this is Gerry
GERRY: Hi
MARCO: and we’re reporters for the news, just trying to get a better picture of what happened
SHOPHELPER: Oh right, can I tell you something between just you and me?
MARCO: Of course
SHOPHELPER: Well, two of the policemen came in earlier to buy something and mustn’t have realised I was standing here or something because they were discussing the murder case, but I heard them saying that they aren’t even sure whether it’s an animal anymore, they’ve had experts in no one knows what could be doing it. And what ever it is has to be pretty strong ‘cuz they couldn’t stop going on about how bruised the victim was, looked like they put up a fight, or tried to.
GERRY: Told you!
MARCO: Damn, that is interesting, (PAUSES) well thanks anyway
SHOPHELPER: No worries have a nice day now
FOOTSTEPS, DOOR OPENS (BELL JINGLES) AND DOOR CLOSES, FOOTSTEPS, CARS ON ROAD
GERRY: That was weird, but I guess we’d better head home and get ready for work now, come on
FADE OUT

SCENE FOUR: BACK AT HOME
TV IN BACKGROUND
MARCO: (SIGHS)
GERRY: What’s up?
MARCO: I know it’s none of our business but I just can’t get outta my head what that shop assistant said yesterday, I mean it can’t be a person doing all of this and if they don’t think it’s an animal, then what the hell is doing all of this?
GERRY: (EXHALES) I have no idea, but we’ve got that formal party thing for work later so you’d better go and get in the shower
MARCO: oh yes! I had completely forgot about that, that’ll take my mind off it for a few hours
FOOTSTEPS FADE UPSTAIRS
TELEPHONE RINGS – GERRY ANSWERS
GERRY: Hello?

MANDY ON THE PHONE: (SLIGHTLY CRACKLY) Oh hi Gerry, I was just wondering whether you and Marco were free tomorrow to do an outside story on some abandoned mansion, that’s meant to be worth millions, all you gotta do is show up, and Louise the manager, will be down there to give you more information
GERRY: Uh yeah sure, that sounds good, Marco’s in the shower but I know he won’t turn it down either, time and place?
MANDY: Great! Well just show up at the address I’m going to give you in a minute, at four ok?
GERRY: Yeah that sounds good to me, I’ve got a pen and paper ready, you wanna give me the address now?
MANDY: Yes, it’s Cohen Manor, just off of Brentwick Street near the Stadium, and if you follow the road down you should find it. If your using your sat-nav just type in 43 Brentwick Close, Cohen Manor, London, you got that?
GERRY: Yep, I got it, thanks again Mandy, see you tonight
MANDY: Yes! See you tonight! Bye Gerry
GERRY: Bye!
PHONE GOES DEAD, PUTS PHONE DOWN
FOOTSTEPS
GERRY MURMURS TO HIMSELF: I’ll put you there, or I’ll end up forgetting about it later! Oh the invitation with the address, better put that in my pocket, or I’ll forget that as well! (CHUCKLES TO HIMSELF)
FOOTSTEPS FADE

LATER THAT EVENING…
CAR DOOR OPENS AND CLOSES, CAR DOOR WINDS DOWN
GERRY: (YELLS TO MARCO IN HOUSE) Oh! Marco, we need the address for the dinner!

PAUSES – MUMBLES TO HIMSELF – EXHALES - Oh what did I do with it? Damn!

I think it might still be on the fridge? Is it there?
MARCO: (YELLS BACK) Oh yeah! I think I found it, thanks!
FOOTSTEPS, CAR DOOR OPENS AND CLOSES
GERRY: Better get going then, we’re already late and it’s pretty much dark now!
CAR ENGINE STARTS, AND THEY REVERSE OUT OF THE DRIVE, CONTINUOUS ENGINE NOISE
MARCO: Yeah I know, I think I know where this place is from looking at the address

CONTINUOUS ENGINE

SCENE FIVE – THE DRACULA’S HOUSE
PULL UP AT HOUSE – ENGINE SWITCHES OFF
CAR DOORS OPEN, AND SLAM SHUT
GERRY: Well this doesn’t look right, I know its nice but looks like there’s no one in and since when did work go all out on formal dinner locations?
MARCO: Well this is the address that was on the fridge!
PAUSE
GERRY: (GASPS) Oh no! You’ll never guess what I’ve gone and done…
MARCO: Oh what now?
GERRY: Well Mandy called when you were in the shower, and I wrote down the address of some abandoned house they want us to do a news report on, we are supposed to come by here to do a live feed tomorrow, and I think I put the invite with the address on in my jeans pocket! (DISSAPOINTED REALISING WHAT HE’S DONE)
MARCO: Gerry! For crying out loud man! What is with your memory lately?
DISTANT NOISE COMING FROM INSIDE THE HOUSE (SOUNDS LIKE A MIRROR BREAKING)
GERRY: What. Was. That?
MARCO: I dunno, didn’t you say that it was abandoned? (SCARED)
GERRY: Well, that’s what Mandy said, but look!
MARCO: Is that a light?
GERRY: Yes!
MARCO: Hmmm, wanna go and check it out?
GERRY: Please tell me your joking; have you seen the size of the place? It’s supposed to be abandoned and you want me to go in there? (SCARED)
MARCO: YES! Suck it up will you?! (ANNOYED)
GERRY: FINE! But if I get creeped out I’m leaving, and I can officially blame you if something goes wrong! (RELUCTANT)
MARCO: FINE!
GERRY: FINE!
FOOTSTEPS ON GRAVEL
OPENS DOOR – BIG CREAK (EERIE MUSIC KICKS IN VERY FAINT)
GERRY: MARCO! (ANNOYED WHISPERY VOICE)
MARCO: Sorry (WHISPERY)
FOOTSTEPS
GERRY: Ok, I don’t like this anymore (WHISPERY)
MARCO: Stop being such a loser! (WHISPERY) (SNAPPY)
LOUDER, SIMILAR NOISE AS BEFORE
GERRY: Oh god, please can we leave?
MARCO: Ok (SCARED) I see your point
FOOTSTEPS, RATTLE DOOR TO OPEN IT - LOCKED
GERRY: How is that even possible? We just came through here! (WHISPERY/SCARED)
MARCO: Damn! (KICKS DOOR)
GERRY: Oh that’s gunna help innit? I told you this was a bad idea! (WHISPERY)
MARCO: SHUT UP!
SUSPENSE – EERIE MUSIC GETS LOUDER
DRACULA: hmmm now what do we have here?
GERRY: (TERRIFIED) uh uh uh we were uh just leaving sir (STUTTERY)
DRACULA: Hmmm, but you’ve come all the way now, how convenient, why don’t you stay for dinner, keep Dracula company? Hmmmm
GERRY: D-D-Dracula? (STUTTERY AND CLEARLY TERRIFIED)
DRACULA: That’s my name, don’t wear it out, but I can’t imagine you’ll have time to (COCKY) (LAUGHS)
MARCO: We w-w-w-won’t?
DRACULA: NO!


GIRLISH SCREAMS
END

SUSAN WHITE AND THE SEVEN DANCERS


MAIN CAST


• SUSAN WHITE – an average woman, with an amazing singing voice, who keeps to herself
• THE EVIL FAMEGIVER – a multi-millionaire who is trying to persuade her to become famous
• THE DANCERS – a bunch of seven dancers who try and help Susan (sort of)
• NARRATOR – informs the audience about necessary information to understand the plot
• PRINCE – a doctor working at the rehabilitation clinic who helps Susan overcome her fears and restore to her normal self


OPENING MUSIC SEQUENCE – FAIRY TALE LIKE


NARRATOR: Once upon a time, in the depths of Swansea, there was a woman called Susan White, she was average to look at, and no one really knew who she was. Most of the time she stayed indoors in the privacy of her own home, kept company by her cat pebbles. But what people didn’t know about Susan, was her love of singing and how amazing her voice was.

(BIRDS TWEETING, WIND BLOWING LIGHTLY IN THE TREES)

But one day Susan was talking a walk in her small village and singing merrily to herself…
(‘I DREAMED A DREAM’ STARTS BEING SUNG IN THE BACKGROUND)

When her jealous sister heard her singing and recorded her voice, and decided to send it to the most famous yet evil millionaire known to man, his power made it possible to bring anyone into fame and make them a fortune, however not many people know, including Susan, that succumbing to fame and fortune came at a terrible cost, as the stress and pressure of this attention was known to make some paranoid and irrational.


OCEAN NOISE

A few days later some where along the coast of Barcelona, Sorcerer Cowel was taking his hourly gaze in the mirror…

SORCERER COWEL: Mirror, mirror on the wall, who is the most handsome of all?

MIRROR: (SARCASTIC) you are, again, as always…the most handsome of all

SORCERER COWEL: Of course I am (DELIGHTED YET COCKY) (CHUCKLES TO SELF)

KNOCK AT THE DOOR

FOOTSTEPS

OPENS DOOR

DELIVERY MAN: Package for a Mr. Cowel

SORCERER COWEL: Thank you! Now clear off!

SLAMS DOOR

Three days later Susan White got an unexpected phone call of the man himself; Sorcerer Cowel…

TELEPHONE RINGS…

SUSAN WHITE: Hello?

BRITAINS GOT TALENT THEME KICKS INTO BACKGROUND

EVIL SORCERER: Hello, this is Sorcerer Cowel, can I speak to Susan White?

SUSAN WHITE: Yes, this is she

EVIL SORCERER: I am Sorcerer Cowel, I have heard you sing, and think you are amazing. You could go far

SUSAN WHITE: Really? (SHOCKED)
EVIL SORCERER: Yes, this is a once in a lifetime opportunity and I have a plan to make you one of the most famous women in the world. I think you should take this chance and come with me to embark upon this wonderful journey I will make for you.

SUSAN WHITE: No! I don’t want fame and fortune! I sing because I love to sing, not for the fame!

EVIL SORCERER: Believe me Susan this opportunity will not come around again, you NEED this chance

SUSAN WHITE: No! I won’t do it!

THROWS PHONE AGAINST WALL

NARRATOR: And so Susan, threw the phone against the wall in an upset rage, and fled in to the woods to escape the evil sorcerer and ran until she collapsed in exhaustion on the forest floor. In the early hours of the morning Susan awoke in a clearing in the woods to find a cottage. Curious as to who could live in such a wonderful house she wandered over to knock on the door, but when doing so the door opened with a creak…


KNOCK AND DOOR CREAKS OPEN

Susan walked into the little cottage curious as to who lived here…

SUSAN WHITE: Helloo?

NARRATOR: But no body was home and so Susan assuming that the cottage was abandoned, cleaned it up a little bit and fell into a deep sleep on one of the beds, hours later she was awoken by seven faces hovering over her bed.

SUSAN GASPS

DANCER ONE: Who are you?
SUSAN WHITE: I’m Susan White, I’m sorry I thought this house was empty, who are you?

ALL DANCERS: We’re a dance group called Divergence; we live here (DANCE MUSIC)

SUSAN WHITE: Ooo, how lovely. I love to sing but I’m being tricked into fame by the cruel Sorcerer Cowel who is trying to get me to be famous by auditioning on one of his talent shows!

DANCER TWO: (GASP) oh no! He sounds terrible! (DANCE MUSIC)

SUSAN WHITE: Oh yes! He rung me up and told me it was a once in a lifetime chance and that I need this opportunity to be a famous singer!

DANCER THREE: Could we hear you sing Susan? (DANCE MUSIC)

SUSAN WHITE: Of course… CLEARS THROAT
(SUSAN SINGS A FEW LINES OF I DREAMED A DREAM)
DANCERS: WOW! (DANCE MUSIC)
DANCER ONE: You’re amazing! Maybe you should consider this talent show; you really are a good singer! (DANCE MUSIC)

SUSAN: You think?
DANCER TWO: Oh yes! (DANCE MUSIC) Would you like a cup of tea Susan?

SUSAN: Oh yes that would be lovely thank you

DANCER THREE: (DANCE MUSIC) there you go

SUSAN: Do you always have to dance whilst you move?

DANCERS: Oh yes! (DANCE MUSIC)

FAIRYTALE LIKE MUSIC FADES IN

NARRATOR: And after some deliberation Susan White was convinced that she should audition and set off to Cardiff, with her new friends Divergence as support, to audition for the new talent show, and even though she was still unsure about the risk she was about to take, she knew in her heart that her new friends Divergence believed in her, which she had never had before. And the next morning Susan woke up and set off to the audition that could ultimately change her life. She waited for her turn and then walked out on to the stage to perform…

CHEERS AND APPLAUSE

BRITAINS GOT TALENT MUSIC IN BACKGROUND

SUSAN: I am Susan White and I am here to sing for you today…

SINGS SECTION OF I DREAMED A DREAM

LOTS OF CHEERS AND SUPPORT AND CROWD GO MENTAL FOR HER

EVIL SORCERER: That was astounding, you are a little tiger aren’t you. Phenomenal, absolutely phenomenal

CHEERS IN BACKGROUND

BRITAINS GOT TALENT THEME – PLAYS OUT AND THEN FADES

THREE BUZZERS X X X

SILENCE
MONTHS AND MONTHS LATER…


WARPING NOISE

RADIO ON IN BACKGROUND

WORKER: Susan! Hello? Are you awake? Susannn!!!

SUSAN: Huh? (GROGGILY)

WORKER: Susan it’s time to get up

SUSAN: Huh? Where am I?

WORKER: You’re in a rehabilitation clinic Susan, remember? You were admitted last night?

SUSAN: Ohh… uhh

WORKER: Look! Here’s the paper

RUFFLES THE PAPER
WORKER: It says - Divergence win Talent contest leaving Susan White exhausted and heading for rehab

SUSAN: Divergence? (IN SHOCK)

WORKER: Yes, they beat you in the talent contest

SUSAN GASPS

WORKER: Are you all right dear?

SUSAN: Erm, yes, I’ll be fine… I think (UPSET AND BETRAYED)

WORKER: Good, just get some rest and the doctor will be in here shortly to check up on you

RADIO GETS LOUDER AND THEN LOWER – FOOTSTEPS

DOCTOR: Susan?

HEAVENLY AHHHHHHH NOISE

DOCTOR: Susan?

SUSAN WHITE: errr yes?

DOCTOR: I’m Doctor Morgan, I just wanted to check on you, and see how you were doing?

SUSAN WHITE: umm yes, I am feeling much better now thank you, you’re quite charming you know (ADMIRINGLY)

DOCTOR: why thank you! I’m sure your going to recover in no time!

NARRATOR: And so Susan spent the next few weeks in the rehabilitation clinic, seeing her doctor everyday. But what both of them didn’t know was that they both fancied each other. On the last day of Susan’s therapy, just as she was being discharged, and no longer his patient, he leant in to kiss her

FAIRYTALE MUSIC (ROMANTIC LIKE)

SUSAN: Oh Piersy baby!

This lead to the beginning of a beautiful relationship, Susan continued her love of singing with the support of her Charming Piersy, and they made a lovely life together in the house, which was paid for by the OK! Magazine deal, driving the BMW’s that were paid for by the television appearances, living the z-list celebrity life of luxury, happily ever after.

THE END

Task Nine - (P1,M1,D1) The Final Product:

Task Ten - (P1,M1,D1) Evaluation:

My original aim was to create a radio drama that was entertaining and humorous in a way because of the irony of the mixture in genres. I think I achieved this purpose to an extent, although maybe it wasn’t as humorous as I’d have hoped when I started the initial idea. I asked an audience of people some questions about what they thought of my radio drama after playing it to them and they said that my voice sounded professional and all the sound effects were in good timing and the levels were good. They also said it was appropriate to the purpose and both primary and secondary audiences. Although they also picked up on the fact it is obviously a male playing the part of Susan, and perhaps if I were to do it again pick a genuine welsh or Scottish person to do it that was a female to make it more appropriate although it could be argued that it adds to the ‘comedy’ factor of the whole piece as it obviously isn’t her. They definitely took my preferred reading, and in terms of uses and gratification theory, would use it for diversion and personal relationships.


I did give quite negative messages surrounding Susan Boyle; I did not mean to offend in a serious way, it was just the genre I feel that called for the contrast and negativity. I included both boys and girls (and even used a boy to play a female part for the comedy factor). Different ethnic groups weren’t used, just purely because of convenience; I used actors and actresses from the year 12/13 media department. The music bed I used anchored the fairytale mix of the piece I feel and added to the whole mood of the drama to keep it quite light hearted. I didn’t shoot off location from the studio, but I added sound FX to make sure it sounded like it was set in the appropriate settings for example using birds tweeting would connote (using extended signification) walking through woods . I think the majority of the language was appropriate for the target audience, but if I were to do it again I may change a couple of the words to make it easier to understand. I think in comparison to a similar professional product, in terms of the editing it is very slick and realistic like with the sound effects.

The levels in my radio drama are good, and my audience gave me feedback saying they also agreed with this. They said the voices weren’t drowned out by the music and sound effects and I happen to agree with this. I didn’t cut off anyone’s voices and the microphones worked very well. My audience were engaged throughout the drama so I feel like I did enough to keep them interested. I used plenty of sound effects, to make it sound authentic and I think I achieved this.

This radio drama was a mix of both comedy and fairytale, and of these genre’s you expect jokes, sarcasm, irony, happy endings, prince charming etc in terms of codes and conventions, and I have used all of these to reflect the purpose to entertain. In a similar professional product they would have these kind of typical conventions also, but would have also had some advantages over me. These include more professional actors to read in the parts, higher quality recording equipment and editing software, which would make a better sounding product, and they will also have had more time to complete it in perhaps. I used some good features of narratives, including Todorov’s equilibrium, disruption and resolution, this works really well in hand with the fairy tale essence. I also used the classic Propp theory of villain, hero, and damsel again hand in hand with the fairy tale-esque element. Susan is the damsel who needs rescuing from the evil villain sorcerer Cowell, yet who is saved by Doctor Morgan to create the resolution happy ending. I regard my radio drama as single stranded in terms of narrative just as there isn’t really any complexity to the storyline, there’s only one thing going on throughout.

I didn’t particularly learn any new skills during the making of this, although I realised in terms of editing, the ease and slickness of it has got easier and stronger with years practise. My weakness was definitely the script writing I feel as it wasn’t as strong or witty as I’d have hoped, and my strength was probably the editing of the sound FX and the smooth flow and my peers seemed to agree with me. If I were to do my radio drama again, I would try harder with the script, and make sure all the recordings have good levels and sound good, on some of my narration parts you can tell I’m not stood up, because my voice is hunched and quieter. I would have also used better time management as I feel I could’ve been more prepared and up to date in terms of creating it. And I could’ve been less offensive towards ‘Susan’ and even possibly used people of different ethnic backgrounds to avoid further bias, but overall the product is good.