Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-08-17

He is allowed let US say half hour On the
air. II he exceeds that limit, either his act IL
cut on peremptorily without its conclusion or
another act is robbed of its time If he nm
isheS too soon he is responsible for one OF the
worst of radio sins-a period of silence on the
air. To avoid these errors he times both
rehearsal and actual production with stop
watch.
THE time limit represents, of course, only
one Of the problems Of radio production.
The director in charge must watch that the
artists maintain the proper position before the
microphone. He must be on the alert for sig
nails from the control room and ready to trans
init them to the performers. He is responsible
for proper coordination between the artist and
the orchestra leader.
His greatest concern, however is the radio
audience. Despite the limitations Of vehicle
which offers no opportunity for the familiar
stage effects, the radio presentation must please
the biggest and most heterogeneous array of lis
teners ever known. With only sound to work
with, it must create the illusions of visual
beauty and background. Many of the methods
employed are both interesting and ingenious.
Producers have learned for example, that the
presentation of stage act on the air requires
more than mere curtaiment. 1t demands at
moSphere, which in turn must be created in
the minds of the hearers. An Illuminating ex-
ample of how this is achieved is seen in the
method Of producing old-fashioned melodramas
used by one prominent station. It presents
them apparently on a Mississippi River show
boat. Before the play begins the radio audi
ence hears the boat arrive at landing, hears
the barkers ballyhoo the ticket and songbook
sales, the orchestra tuning up, the stage an
nouncer Of the show. Then throughout the
production it hears Kisses and applause from
the seats, and at its conclusion the comments
of the ShoW-boat audience as it leaves. Per-
haps 10 minutes is spent in building up at
moSphere, but this is what puts the act across.
without that atmosphere the production, lack.
ing lights, scenery and motion, might seem
fiat and unreal, as have many others attempted
without the necessary auditory background.
Like the actor, the production director must.
guard against the unconscious influence welded
by the small audiences that often watch radio
productions within the studio. He must zee
that visitors do not sit too close to the perform
ers, that they maintain absolute silence that
they overcome the temptation to applaud q
touching song or laugh at a humorous line.
II these were permitted and were heard over
the hook-up, the entire illusion would be de-
stroyed for thousands of listeners. In some
presentations the director can use the studio
audience, but the unseen hearers must be first
told Of its presence, so that the laughter and
applause do not sound an incongruous and
disturbing note over the air.
OUCH audiences, incidentally. are quite help
ful at times to public men speaking over
the air. When Alfred Z. Smith broadcasts
from the studio the director usually arrangeU
TO have several hundred visitors in the room
for their psychological effect on the speaker.
who b accustomed to addressing large end
visible crowds
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