The April Update
Produced devised by John Wakefield
Assistant Producer: Charles Lewis
Written by Tess Humphrey, Charles Lewis, Hannah Whyman, Tom Edwards and Nic Munday
Performed by Tom Edwards, Nick Duquimin, Nic Munday, Hannah Whyman, John Wakefield, Charles Lewis and Alex Boyall.
Hear the programme here: http://ury.york.ac.uk/uryplayer/podcasts/496/
The April Update was devised as a fun way to send up our own content on URY. The programme consisted of an Easter break news bulliten with features about university staff (such as the new ferry captain) and the brand new library conveyor belt system.
Also it sent up our club warm up shows with a mock quiz and finally York's arts scene.
The programme was consisted of written segments which were interspersed with semi improvised moments which led to a great programme that kept people coming back to our website over the long Easter break.
The URY Sketch Show 2012
Produced by John Wakefield and Edward Greenwood
Performed by: Laura Anderson, Lewis Dunn, Mungo Tatton-Brown, Anjali-Viyas-Brannick and Sam Went
Written by: Richard Allen, Lewis Dunn, Edward Greenwood, Rosie Korshidian, David Spriggs, John Wakefield and Sam Went
Hear the programme here: http://ury.york.ac.uk/uryplayer/podcasts/593/
The URY Sketch Show was conceived by myself and Ed Greenwood to give student comedy writers a chance to get their creations recorded and aired on URY.
We had open submissions for writing which were then all read by myself and Ed with the best chosen to form part of a final one off recording.
But of course for this recording we needed actors and comedy performers and so we held open auditions over a couple of nights and were fortunate to have a large turnout and we finally cast 5 actors/comedians to perform all the sketches.
The sketches we chose ranged from those aimed at the students at York, for example the Doxbridge sketch, part of which can be heard in the entry, to parodies of programmes such as Deal or No Deal and the Culture Show. Furthermore others were chosen because of their ability to let the talents of the performers shine through such as the ‘Tragic Monologue’. Other sketches included depressed cross channel ferry captains approaching their destinations, manic dinner ladies and further Doctor Doctor sketches which punctuated the entire performance.
Then after a number of read-throughs we allocated parts and formed the remaining sketches into a well formed 45 minute show which was performed and recorded in front of a live audience who were admitted free. After the recording this was cut down to a half an hour final programme.
The soundscapes and effects for each of the sketches were played in live at the recording and the performances were recorded with a multi-track desk, one of the first times this had been used for a URY recording. This meant that I was able to edit the show to a fine degree and help make it sound like a professional production.
The programme was well received when broadcast and stayed as a highlight on our on demand service for weeks after broadcast.
It was a great pleasure to see all our hard work paying off both in the recording and with its final broadcast and they enjoyment the team and the audience took from the production.
The Shambles
Produced by Ian Angel and John Wakefield
Performed by:
Ian Angel, Óðinn Örn Hilmarsson,Charles Deane, Dan Wood, Edward Greenwood, Lewis Chandler, Lewis Dunn, Helen White
and Josh Giles
Hear an example of the programme here: http://ury.york.ac.uk/uryplayer/podcasts/465/
Hear the Shambles EXTRA here: http://ury.york.ac.uk/uryplayer/podcasts/436/
The Shambles (an improvised comedy troupe named after York’s famous street) have for a number of years now been a definitive part of York’s comedy scene and it has been an ambition of mine from starting at York to bring their fantastic improvised sketches and songs to URY.
I met with the troupes producer Ian Angel a number of times and we discussed how we could adapt what had been some very visual games for the radio, for example games such as ‘Film Styles’ which can be heard in the entry were rehearsed and worked on to bring out the word play involved.
After many rehearsals we sat down and considered exactly which games would go into a final show which was recorded in front of a live audience at the university and advertised as a free University Radio York event.
For each of the programmes in the series (three in total) we recorded roughly an hours worth of material and this was then edited to thirty minutes for broadcast.
Other games that were hilarious did overbalance and impede the flow of the comedy so were omitted, one example of this was ‘Narrator’, an improvised story game which on this occasion mocked Beatrix Potter’s fiction. This was cut and presented as ‘The Shambles Extra’, a bonus piece for our online listeners.
Furthermore in post production some sound effects were added to give greater depth to the sketches while others which were in the original recording were carefully mixed in. We had recorded with a multi-track desk, the first time this had been done for a University Radio York event and this gave me greater freedom to create a professional sounding programme for its broadcast.
Games include 3 headed expert, sea shanty, where a member of the audience was serenaded, and classic improvised games such as ‘Who’s line is it anyway’ which in one programme found explorers in the depths of the Temple of Doom reciting the age old motto of their archaeology school: ‘that was one sexy, sexy chez-lounge.’
The series attracted large listenership for URY, especially on our on demand service and shows a true collaboration with local talent.
The URY Sketch Show 2011
Produced by John Wakefield
Written by Ed Greenwood, David Spriggs and Anjali Vyas-Brannick
Performed by Dagg Corbitt, Tom Crowley, Ed Greenwood, Tom Taylor, Anjali Vyas Brannick and Helen White
Hear the programme here: http://ury.york.ac.uk/uryplayer/podcasts/454/
The URY Sketch show had been an ambition of mine since I took up my role as Head of Speech Broadcasting at URY.
I was approached by three sketch writers and I worked closely with all of them to fine tune the scripts and ideas to produce an hour of live comedy.
After 3 read-throughs and assembling a talented cast, not just from members of the University’s Comedy Society but from across the board, we carefully developed an hour of comedy sketches. I took the decision to record these with a live audience as I felt that, from what I knew about radio comedy, that as a medium for sketches, an audience is often required to carry the humour.
The aim was then to be able to create a half an hour programme of the best sketches to make it half an hour of professional sounding radio comedy.
Sound effects were mainly played in live at the recording and post production was simply reorganising the sketches that worked into a cohesive professional sounding programme.
It was a fantastic opportunity for URY to show that it is capable of creating comedy as well as, and independently from the university’s own comedy society and brought some of the highest live listening figures ever to our weekday speech slots.
Student Radio Awards Judges Comments
- High quality sketch show, good that it had the ambition to perform it live in front of an audience.
- A lively sounding entry that benefits from the live studio audience from the laughter track. I like the selection of sketches, and the really great interplay between SFX and script. The sketches all satirise their targets very nicely. Plus you have a callback, which is always good to hear. You obviously know your audience well and know what they want. A very good show.
Got Booty
URY Producer: John Wakefield
Comedysoc Producer: Ross Meikle
Chairman: Henry Ward
Team 1: Dan Wood, Lewis Chandler and Anjali Vyas-Brannick
Team 2: Tom Crowley, Lewis Gray and Tom Stokes
'Got Booty' represents a colaboration with the University of York's Comedy Society (Comedysoc) where for a couple of shows a term the format of their long standing panel game was adapted for radio.
The premise of the show is that both teams play absurd games all in the aim of caputuring Booty which will, in the storyline of the show, apparently lead them to win and get their rewards.
Comedy Soc's premier improvised Comedy show returns to URY for a special show as Chaiman Henri Ward and team captains Dan Wood and Tom Crowley embark upon an epic and hilarious sci-fi adventure. Who will survive, who will regenerate and how dirty is J.K. Rowling. ALL WILL BE REVEALED!
In this particular edition of the programme that theme was science fiction.
Rehearsals began 8 weeks before we began recording with regular read-throughs and in-depth work on scenes and character. About this time I was also meeting with the fantastic composer of our original score James Whittle. I discussed in detail with James where music was needed and what it should bring out in the scene or transition. He then sent me drafts of his work which after we had recorded much of the dialogue and the music was reworked to even better fit the scenes and was finally recorded by a hand picked ensemble of musicians from the university.
I wanted to push the medium to its limit, to provide an audio spectacle with images it would take a Hollywood budget to see on film. To create a professional feel to the production with limited studio resources I choose to record in a number of different locations. These included large halls, small rooms, studio theatres and of course the field outside campus for large external scenes where we achieved a great deal despite being plagued by ice-cream vans, RAF flypasts and 22 mile an hour winds.
On top of the fine performances and location recording hours have been poured into creating a convincing mix to try and recreate a twisted vision of seventeenth century England with many layers of sound effects and voice work creating the final two 120 minute productions.
Student Radio Awards Judges Comments
- An ambitious project really well carried out. Impressive.
- An excellent piece of radio drama, so much so I'd love to hear the full piece. The acting is tremendous, the score and sfx really bring to life the drama and emotion of the story. Loved the battle scene in particular. This certainly does sound like a radio version of a Hollywood blockbuster. Impressive work by the producer and his cast.
- A very ambitious project to undertake, which was developed and delivered very well. Good use of sound effects, music and fading to add an element of suspense / drama.
- This is obviously an ambitious and grand production, huge in scope. It's well acted and confidently performed. It's a weighty text and that is respected in the adaptation. The use of SFX is strong and the music is compelling.
- Strong acting and characters.... The SFX and music are well connected and done very well.
- Huge cast and a skilfully executed drama. Very difficult to do, but tackled with great radio production ability.
- High production values with original music, good performances and effects.
- It was well produced and well acted... it is clear that everyone involved gave the project everything and very enthusiastically.
- Technically very strong - ... Particulary good battle scene. Music - Very impressive. Performances - very good. ... All in all a really strong entry.
- Tremendously ambitious project, impressively realised. Music, effects and performances all of high standard, combined to powerful effect. It took me into a world both fantastic and horribly real, and held me throughout, although I knew nothing of Jeapes' work.
- Hugely ambitious and brilliantly done. Well written, performed and produced. A stand-out winner.
Media Response
- 'Some pitch perfect perfomances' 'it took me about 1.5 ms to say yes... its hard to believe these are fresh faced students!' - Ben Jeapes author of 'The New World Order' - Full review: http://www.benjeapes.com/index.php/2012/11/the-new-new-world-order/
- 'You could be forgiven for thinking this is the sountrack to a hollywood film'... 'a truly remarkable achievement from URY Drama' - Ben Bason - Independent URY Reviewer. Full review: http://ury-speech.blogspot.co.uk/2012/11/review-new-world-order-part-1-1645.html
- 'One of the most staggeringly ambitious student productions I have ever come across'... 'Jaw dropping in their professionalism' - Tom Bonnington, York Vision. Full review: http://www.yorkvision.co.uk/scene/urys-new-world-order-review/
- 'Combines a good script, a talented cast, convincing sound effects and an impressive musical score to create an engrossing listening experience' - Elisabeth Schuker, The Yorker. Full review: http://www.theyorker.co.uk/arts/performingarts/on-campus/12738
- Part 2 is 'Even more passionaite, even more dramatic and even more brilliant'... 'Captivating and a truly staggering piece of radio drama' - Ben Bason - Independent URY Reviewer. Full review: http://ury-speech.blogspot.co.uk/2012/11/review-new-world-order-part-2-1651.html
I wanted to push the medium to its limit, to provide an audio spectacle with images it would take a Hollywood budget to see on film. To create a professional feel to the production with limited studio resources I choose to record in a number of different locations. These included large halls, small rooms, studio theatres and of course the field outside campus for large external scenes where we achieved a great deal despite being plagued by ice-cream vans, RAF flypasts and 22 mile an hour winds.
On top of the fine performances and location recording hours have been poured into creating a convincing mix to try and recreate a twisted vision of seventeenth century England with many layers of sound effects and voice work creating the final two 120 minute productions.
Student Radio Awards Judges Comments
- An ambitious project really well carried out. Impressive.
- An excellent piece of radio drama, so much so I'd love to hear the full piece. The acting is tremendous, the score and sfx really bring to life the drama and emotion of the story. Loved the battle scene in particular. This certainly does sound like a radio version of a Hollywood blockbuster. Impressive work by the producer and his cast.
- A very ambitious project to undertake, which was developed and delivered very well. Good use of sound effects, music and fading to add an element of suspense / drama.
- This is obviously an ambitious and grand production, huge in scope. It's well acted and confidently performed. It's a weighty text and that is respected in the adaptation. The use of SFX is strong and the music is compelling.
- Strong acting and characters.... The SFX and music are well connected and done very well.
- Huge cast and a skilfully executed drama. Very difficult to do, but tackled with great radio production ability.
- High production values with original music, good performances and effects.
- It was well produced and well acted... it is clear that everyone involved gave the project everything and very enthusiastically.
- Technically very strong - ... Particulary good battle scene. Music - Very impressive. Performances - very good. ... All in all a really strong entry.
- Tremendously ambitious project, impressively realised. Music, effects and performances all of high standard, combined to powerful effect. It took me into a world both fantastic and horribly real, and held me throughout, although I knew nothing of Jeapes' work.
- Hugely ambitious and brilliantly done. Well written, performed and produced. A stand-out winner.
Media Response
- 'Some pitch perfect perfomances' 'it took me about 1.5 ms to say yes... its hard to believe these are fresh faced students!' - Ben Jeapes author of 'The New World Order' - Full review: http://www.benjeapes.com/index.php/2012/11/the-new-new-world-order/
- 'You could be forgiven for thinking this is the sountrack to a hollywood film'... 'a truly remarkable achievement from URY Drama' - Ben Bason - Independent URY Reviewer. Full review: http://ury-speech.blogspot.co.uk/2012/11/review-new-world-order-part-1-1645.html
- 'One of the most staggeringly ambitious student productions I have ever come across'... 'Jaw dropping in their professionalism' - Tom Bonnington, York Vision. Full review: http://www.yorkvision.co.uk/scene/urys-new-world-order-review/
- 'Combines a good script, a talented cast, convincing sound effects and an impressive musical score to create an engrossing listening experience' - Elisabeth Schuker, The Yorker. Full review: http://www.theyorker.co.uk/arts/performingarts/on-campus/12738
- Part 2 is 'Even more passionaite, even more dramatic and even more brilliant'... 'Captivating and a truly staggering piece of radio drama' - Ben Bason - Independent URY Reviewer. Full review: http://ury-speech.blogspot.co.uk/2012/11/review-new-world-order-part-2-1651.html
The Prince of Humberside
Written and directed by Tess Humphrey
Produced by John Wakefield
Laurie: Joshua King
Arrabella: Ela Gaworzewska
Awards: The Kevin Greening Award for Creativity 2011
Hear the production here: http://ury.york.ac.uk/uryplayer/podcasts/390/
Behind the scenes feature: http://ury.org.uk/uryplayer/podcasts/254/
The Prince of Humberside, originally a half an hour black comedy, deals directly with the issue of depression in young people and is written and directed by Tess Humphrey who has had personal experience in dealing with the issue. The play represents the power of two talented actors speaking on radio to engage and grip the audience.
It charts the phone conversation between Laurie (an aristocratic student) and his opposite Arrabella (a NHS call centre worker in London). Not only is there great drama as Laurie sad story unfolds but also tinged with comedy as the two struggle to understand what the others going through) Over the half hour both develop as characters which I hope the audience have an emotional attachment to.
While the play is set with two people in a conversation they are hundreds of miles apart. I took the decision to remove the sound effects and the recording used in the first two thirds of the play and really turn it into a pure conversation between two people who have become emotionally very close over the half an hour period. This, I feel, brings the power of pure performance across successfully and is a satisfying emotional climax to the play.
We recorded in both internal and external locations to give the play a true feel of two locations. While we initially toyed with the idea of switching between perspectives throughout from Laurie to Arabella in the call centre we decided that this took away from the central drama of the story. This decision also accentuates our decision when we strip the layers of sound near the end of the drama.
The play provoked widespread praise when it was broadcast to my disbelief receiving messages of appreciation from Liverpool and Mexico. Also the decision to broadcast it in conjunction with our news team in the same week they highlighted the issues of student depression I felt gave a fundamental unity to the programming on URY and moreover demonstrated our commitment to helping students at the university through a variety of radio genres.
It was a pleasure to work on the production and I hope it helped people as much as it kept them on the edge of their seats.
Student Radio Awards Judges Comments
•Nice opening - got me hooked in. Really like the writing -which after all without that there’s no end of production or polishing that would make it better. Would say it develops more as a drama than a dark comedy at the end, not that that’s not a problem. Good that you've nailed the audio quality, nice moving in and out of conversation and sound. Reading your written entry, like the idea that the play wasn't just stand alone but linked into other broadcasting during the week. This can be a great way to really promote issues affecting students or create a theme through the week.
•Wow. Gripping. Full credit for taking on such a heavy subject and pairing it down to create a simple and enthralling piece - which even engaged the audience with humour as well. I'm sure this will have helped many people who are struggling with depression and also those who are struggling to
understand the condition. There should be more plays like this on the radio - well done. s
•Shows that bill themselves as a black comedy and then actually understand what that means and live up to it are quite rare! This is well performed and there are some really good jokes. Something like this is very very difficult to do, when there are obviously issues surrounding the tone and a need to make the jokes fit the characters. Now and again there were a few ruffles in that balance, but I'm sure the more projects you do, the better at this you will
become. Shows lots of promise.
•A really strong effort at tackling a difficult topic with some good black humour; the written material demonstrates the thought that went into
this (like recording both internal and external scenes) and excellent that it ran across the station incorporating the news team. Good work.
•Wow. The epitome of a black comedy. Kicked off hard hitting but Arabella's character made me smile. Every time i felt any moment of sad emotion towards what I was hearing Arabella would say something that made me laugh. Brilliantly produced. Brilliantly acted. Deserves an award.
•Innovative, funny, engaging. Very good writing and a touching subject. The sort of thing student radio should be doing - and here it is done very well indeed.
•Strong, clean story line delivered with real conviction and sensitivity. elegant mixing of humour and pathos. powerful story that engage the audience at several levels and also serves a wider social purpose without didacticism.
Produced by John Wakefield
Laurie: Joshua King
Arrabella: Ela Gaworzewska
Awards: The Kevin Greening Award for Creativity 2011
Hear the production here: http://ury.york.ac.uk/uryplayer/podcasts/390/
Behind the scenes feature: http://ury.org.uk/uryplayer/podcasts/254/
The Prince of Humberside, originally a half an hour black comedy, deals directly with the issue of depression in young people and is written and directed by Tess Humphrey who has had personal experience in dealing with the issue. The play represents the power of two talented actors speaking on radio to engage and grip the audience.
It charts the phone conversation between Laurie (an aristocratic student) and his opposite Arrabella (a NHS call centre worker in London). Not only is there great drama as Laurie sad story unfolds but also tinged with comedy as the two struggle to understand what the others going through) Over the half hour both develop as characters which I hope the audience have an emotional attachment to.
While the play is set with two people in a conversation they are hundreds of miles apart. I took the decision to remove the sound effects and the recording used in the first two thirds of the play and really turn it into a pure conversation between two people who have become emotionally very close over the half an hour period. This, I feel, brings the power of pure performance across successfully and is a satisfying emotional climax to the play.
We recorded in both internal and external locations to give the play a true feel of two locations. While we initially toyed with the idea of switching between perspectives throughout from Laurie to Arabella in the call centre we decided that this took away from the central drama of the story. This decision also accentuates our decision when we strip the layers of sound near the end of the drama.
The play provoked widespread praise when it was broadcast to my disbelief receiving messages of appreciation from Liverpool and Mexico. Also the decision to broadcast it in conjunction with our news team in the same week they highlighted the issues of student depression I felt gave a fundamental unity to the programming on URY and moreover demonstrated our commitment to helping students at the university through a variety of radio genres.
It was a pleasure to work on the production and I hope it helped people as much as it kept them on the edge of their seats.
Student Radio Awards Judges Comments
•Nice opening - got me hooked in. Really like the writing -which after all without that there’s no end of production or polishing that would make it better. Would say it develops more as a drama than a dark comedy at the end, not that that’s not a problem. Good that you've nailed the audio quality, nice moving in and out of conversation and sound. Reading your written entry, like the idea that the play wasn't just stand alone but linked into other broadcasting during the week. This can be a great way to really promote issues affecting students or create a theme through the week.
•Wow. Gripping. Full credit for taking on such a heavy subject and pairing it down to create a simple and enthralling piece - which even engaged the audience with humour as well. I'm sure this will have helped many people who are struggling with depression and also those who are struggling to
understand the condition. There should be more plays like this on the radio - well done. s
•Shows that bill themselves as a black comedy and then actually understand what that means and live up to it are quite rare! This is well performed and there are some really good jokes. Something like this is very very difficult to do, when there are obviously issues surrounding the tone and a need to make the jokes fit the characters. Now and again there were a few ruffles in that balance, but I'm sure the more projects you do, the better at this you will
become. Shows lots of promise.
•A really strong effort at tackling a difficult topic with some good black humour; the written material demonstrates the thought that went into
this (like recording both internal and external scenes) and excellent that it ran across the station incorporating the news team. Good work.
•Wow. The epitome of a black comedy. Kicked off hard hitting but Arabella's character made me smile. Every time i felt any moment of sad emotion towards what I was hearing Arabella would say something that made me laugh. Brilliantly produced. Brilliantly acted. Deserves an award.
•Innovative, funny, engaging. Very good writing and a touching subject. The sort of thing student radio should be doing - and here it is done very well indeed.
•Strong, clean story line delivered with real conviction and sensitivity. elegant mixing of humour and pathos. powerful story that engage the audience at several levels and also serves a wider social purpose without didacticism.
A Christmas Carol
Written and Abridged by Charles Dickens
Directed and Produced by John Wakefield
Dickens: Pascal Dubois
Scrooge: Alex Gordon
Nephew Fred: Luke De Belder
Ghost of Christmas Present: Jack Roberts
Cratchit: Barnaby Spink
URY’s ‘A Christmas Carol’ was the first drama of the year and was envisioned by myself as an introduction to URY for first years. The cast and crew were completely made up of first years and I felt it was a triumph that we were able to produce a drama that sounded so slick and professional in my opinion.
I chose to make ‘A Christmas Carol’ as a semi dramatized reading using the abridgement that Charles Dickens used for his many public readings of the novel. I originally considered setting it at one of Dickens’ readings and framing it with introductions of the author ascending the stage but I felt this detracted from the classic story.
I felt the classic story worked brilliantly as the radio with the addition of subtle sound effects and demonstrated the power of the human voice to be engaging and tell a story.
Many of the people involved have remained prominent in Drama at URY since and in the technical team and I feel proud we were able to make the piece from start to finish in just over a week.
It was a pleasure to direct and produce the piece and when it was uploaded on Christmas Day remained the most popular podcast on URY for a month.
Student Radio Awards Judges Comments
Really good project for getting 1st years involved in speech based radio (which a lot of people don’t go near until a few years into their university radio career!). It’s a really good way to teach people how something like this works with a reliable story and script that you know works!
The prospect of an enactment of a poluplar classic fills many listeners with a sense of real anticipation. After all, writers like Dickens
ensure that a piece of radio comes with strong content assured. This piece delivers a competently recorded performance, with an equally competent use of
FX.
There is a clear single talent at work here, which with some mentoring, could provide the industry with a useful talent.
Directed and Produced by John Wakefield
Dickens: Pascal Dubois
Scrooge: Alex Gordon
Nephew Fred: Luke De Belder
Ghost of Christmas Present: Jack Roberts
Cratchit: Barnaby Spink
URY’s ‘A Christmas Carol’ was the first drama of the year and was envisioned by myself as an introduction to URY for first years. The cast and crew were completely made up of first years and I felt it was a triumph that we were able to produce a drama that sounded so slick and professional in my opinion.
I chose to make ‘A Christmas Carol’ as a semi dramatized reading using the abridgement that Charles Dickens used for his many public readings of the novel. I originally considered setting it at one of Dickens’ readings and framing it with introductions of the author ascending the stage but I felt this detracted from the classic story.
I felt the classic story worked brilliantly as the radio with the addition of subtle sound effects and demonstrated the power of the human voice to be engaging and tell a story.
Many of the people involved have remained prominent in Drama at URY since and in the technical team and I feel proud we were able to make the piece from start to finish in just over a week.
It was a pleasure to direct and produce the piece and when it was uploaded on Christmas Day remained the most popular podcast on URY for a month.
Student Radio Awards Judges Comments
Really good project for getting 1st years involved in speech based radio (which a lot of people don’t go near until a few years into their university radio career!). It’s a really good way to teach people how something like this works with a reliable story and script that you know works!
The prospect of an enactment of a poluplar classic fills many listeners with a sense of real anticipation. After all, writers like Dickens
ensure that a piece of radio comes with strong content assured. This piece delivers a competently recorded performance, with an equally competent use of
FX.
There is a clear single talent at work here, which with some mentoring, could provide the industry with a useful talent.
I negotiated the rights to adapt the novel in two distinct parts by talking to both the publisher (Random House) and Ben Jeapes himself. The adaption proved difficult to bring the large scale nature of the book into a form that a listener could follow and understand. That meant I had to reduce the number of characters in some instances, remove some characters from scenes and replace them with others and well as writing the occasional supplementary scene which eventually led to the two separate plays the first of which was completed this year.
I personally organised the auditions and was fortunate to have a very large turnout and even with an eventual full cast of over 30 people I still had to turn many away however the audition and recall process led me to my fantastic leading performers as well as a large ensemble cast which was crucial for the big nature of some of the scenes.
I personally organised the auditions and was fortunate to have a very large turnout and even with an eventual full cast of over 30 people I still had to turn many away however the audition and recall process led me to my fantastic leading performers as well as a large ensemble cast which was crucial for the big nature of some of the scenes.
The New World Order
Novel by Ben Jeapes
Adapted, directed and produced by John Wakefield
Score Composed by James Whittle
Dhon Do: Luke de Belder
Daniel: Toby King
Cromwell: Joe Williams
Khonel Le: Ela Gaworzewska
Charles II: Ryan Hall
Princess Elizabeth: Roseanna Brear
Sir George Monk: Dan Wood
Awards: Student Radio Awards: Best Speech Programming (Gold) 2013
Adapted, directed and produced by John Wakefield
Score Composed by James Whittle
Dhon Do: Luke de Belder
Daniel: Toby King
Cromwell: Joe Williams
Khonel Le: Ela Gaworzewska
Charles II: Ryan Hall
Princess Elizabeth: Roseanna Brear
Sir George Monk: Dan Wood
Awards: Student Radio Awards: Best Speech Programming (Gold) 2013