We are delighted to share a guest post from a former Chief Producer Radio Drama at the BBC, Martin Jenkins, who writes…
Budget and time restraints present real challenges for radio directors who have to rehearse and record some 30 minutes of a Shakespeare play during each studio day. Pre-preparation is vital. Various versions of the text will be studied. Some additional verse may be required so that listeners know where a scene is set and who is speaking. I remember when I was directing Peggy Ashcroft as Queen Margaret in 1977 (a role she had first played with the RSC in 1963) she came to a handful of lines she didn’t recognise. “I wonder why John [Barton] cut these out – they’re rather good.” I opted to keep quiet.
Casting is crucial. In all radio drama, it is essential to utilize a wide range of voices and accents so listeners can distinguish between the various characters. The director’s nightmare is to realise at the readthrough that Hamlet and Horatio sound identical.
Owing to the limited rehearsal/recording time, BBC Radio can often assemble stunning casts, all of whom enter into the spirit of the recording with the “big names” also taking part in crowd scenes with great gusto.
With such limited rehearsal time, a director needs to create an open working environment during which ideas are discussed and actors brought to performance pitch in a remarkably short space of time. Many clearly relish this immediacy and sense of “danger”. At the same time, the director is shaping the emotional course of the scene whilst also carefully blocking the action. Radio is far from a static medium. Actors rarely, if ever, stand around microphones, reading. A great deal of physical energy and movement is required and it is my privilege to have witnessed some truly remarkable performances in radio studios.
Throughout the studio sessions, I strive to ensure the language has a freshness and vitality, hopefully sounding as if it is being spoken for the first time. During actual recordings, I am in the cubicle listening intently to the journey of the play, as well as to the journey of each of the characters. I have to be sure that character and plot development are clear to the listener and, most importantly, that they are being drawn into Shakespeare’s world: “On your imaginary forces work.” (Henry V, I, Prologue)
Shakespeare can work brilliantly on radio. With no visual distractions, the listener has a unique relationship with the verse. They can eavesdrop, especially during soliloquies. They can experience characters thinking aloud and sharing their innermost thoughts. Because of this closeness, a mis-stressed word or misplaced inflection will jar and hinder understanding of the character’s thought processes. Sometimes in the theatre, one feels performances have “settled” and that lines are being “recited” rather than “thought”. Recited lines on radio work against audience involvement.
Throughout a recording, my role is to focus on listening, not watching, the actors. If something doesn’t work then my notes have to be (hopefully) clear and concise. When it does work – when you hear actors in total harmony with the sense, pitch and energy of the language – everything makes sense and the lines feel as fresh as the day they were written.
Former BBC Chief Producer Radio Drama; founding Artistic Director of the Liverpool Everyman; former assistant director and actor with the RSC