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Dear John

Vocal courses for radio drama?

Question:
I first got into acting through my love of radio but most of the voice courses I've looked at seem to focus on commercials, while drama classes all seem geared towards stage or television. What can I do to build up my radio skills?

Answer:
When I wrote my first book on comedy writing ten years ago, one reviewer in particular wasn't very impressed with the strong emphasis on radio work. "Who listens to radio anymore?" was the exact comment. And yes, I know that remembering the exact comment a decade later is very sad indeed.

I'd love to say that the subsequent boom in digital radio, podcasting and the ongoing entry of major new players such as Channel 4 into the radio market have proved me right but the truth is that the extent of the radio revival seems to have caught even those of us who love the medium by surprise, and having been shamefully undervalued for many years, real expertise in radio is often hard to come by now that everyone is looking for it.

The Radio Academy - see their website at www.radioacademy.org - is a very good place to start looking, as is the remainder of this column, with two people whose radio expertise can bring you up to speed.

What the experts say:

Dirk Maggs

Although Dirk Maggs writes and directs across all media, he is particularly well known for radio dramas which combine dynamic scripts, cinematic effects, evocative music and cutting edge technology to produce what have aptly been described as 'audio movies'. Dirk's radio productions include The Hitchhiker's Guide to the Galaxy, Ben-Hur, and the Agatha Christie Mysteries, and he has directed artists ranging from Leslie Nielsen and Stephen Fry to Maureen Lipman and Alison Steadman.

The lack of emphasis on radio training is a common complaint among actors who understand what an incredible storytelling medium radio drama can be.

Commercial training organisations that call voiceover training 'voice acting' misrepresent what the audio medium is capable of and how many opportunities are out there. Training for ensemble radio drama work should not be in short supply, as most actors working in radio get their break in ensemble pieces, such as BBC drama or comedy productions.

With regard to building up your own skills, keep looking for a source that offers training in an ensemble situation, not just basic microphone technique, and keep listening. Listen to as much radio drama as you can manage (BBC Radio 4 has a weekday afternoon play at 2.15pm, the quality varies but that means you'll hear what works and what doesn't), and listen to the classic stuff - Burton in Under Milk Wood, Sellers in The Goon Show - these are seminal talents who don't need a camera in the room to make their characters rounded and real in the mind's eye.

Finally, canvass for work in radio. Try and organise a very short demo of your voice in two or three contexts - eg. reading narrative, reading advertising copy, reading a speech from a play - and get it to the ears of a producer in the medium. 'In house' BBC Radio Drama and Radio Entertainment producers currently have access to 90% of the available slots on the world's biggest commissioner of spoken word ensemble audio - so get the odds on your side and start with them.

Peter Stewart

Peter Stewart has been involved in radio for 20 years as manager and presenter at BBC and commercial stations, national and local. After winning awards for his news presentation, he now trains journalists to 'read out loud'. His new book Essential Radio Skills (A&C Black) will be published in September. He has also written Basic Radio Journalism (Focal) and has weekly columns in The Radio Magazine and on RadioJam.co.uk

The main difference with radio work is projection. When TV presenters come to me they're often throwing their voice too much, as though they're speaking to the camera-person, ten or 20 feet away. But on radio you're often sitting alone.

If you talk to the microphone, your voice will be too 'intimate'. If you use that 'TV projection' you will sound rude and disconnected with the radio audience, who are more likely to be consuming radio alone (TV tends to be more of a group experience).

We naturally stand about four feet from someone we're talking to, so we're not invading their space but not so far away that we're perceived as rude. So 'lock-in' to the voice you use in that situation and use the same projection on-air to sound natural.

Something else you may want to think about is who you're talking to. This is especially important if you're acting alone, for example reading a talking book, or reading the news. Have in your mind's eye one specific person and imagine them sitting just the other side of the mic (that distance of four feet I mentioned above, it's 'The Law of Four'). But who you choose is hugely important.

Everyone will pick someone different but it shouldn't be someone who'll be too honest (your mother), critical (your agent or director) or laugh at mistakes (your friends). If you imagine someone you know who would give you honest and constructive feedback (perhaps a mentor, or uncle figure) then your performance will be much more relaxed, confident and natural.

Finally, radio is much more subtle than TV and certainly stage and most commercial work. Instead of thinking of what words to stress or emphasise consider a small lift or depression of your tone instead.

John sums up

Rather than even attempting to compete with Dirk or Peter's technical expertise, I think it's useful to point out two things that are essential to any performer working in a medium they haven't worked in before. Firstly, find examples of people who have mastered that particular medium. In this case, you might try listening to your audio showreel and classic recordings such as Dirk suggests back to back. What is different in terms of the performance - and what can you apply to your performances from now on? Secondly don't get so hung up on "having to work in an unfamiliar medium'' that you forget the people the medium is supposed to be serving. Digital technology may be advancing all the time but ultimately it isn't microphones or cameras who pay our wages (well, not yet!) but the people on the other side of them and so it is their requirements we need to be familiar with.

* As well as the many projects listed above, Peter Stewart writes 'Useful Stuff', a free monthly digest of media-related news stories, ideas and links which you can subscribe to via www.petestewart.co.uk

* Feedback/queries are welcome to dearjohn@thestage.co.uk

Also on The Stage Online:

How to get started in radio acting - part one

How to get started in radio acting - part two

How To: Make a Voiceover CV

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