Broad Channel & the Audio Option

Here are some thoughts on attending a new play reading last night. The play was called Broad Channel by James Bosley. It is not really fair to review a play reading, but I will say that it was quite good. It is a story about international, cross-generational, art theft. A working class American family has the art and has had it for a two generations. An upper-class European woman wants it back.

Since this was a reading, and not a staged one, with actors standing in place. I decided to experience most of it with my eyes closed, as if it were a radio play. That worked out quite well. The play would make an effective radio production. But the thing is, it probably never will be produced for audio. It is doubtful that the audio option is even considered by most USA playwrights. A play in the USA, if it is lucky, has a life of being produced in the theater, or adapted to film. If neither of these work out the play is a dead paper entirety. Professional audio theater has been more or less dead in the USA for about 50 years so it is understandable that it is not considered. This is a shame. This play, when heard with eyes closed, came alive and would afford itself quite nicely to audio production. It was not necessary to see the painting in question, the house of the working class family, the cut of the art investigator's suit. All these things can be easily seen in the mind of the imaginative listener.

But that will never happen. Here it is all or nothing. A play is produced in a theater, or made into a film (very unlikely in this case). Those are the options and that's it. If the play can't get a production in theater or film/TV it is dead, type on paper or a text file in memory. Theater, film/video productions are costly enterprises and most plays sit in a drawer somewhere like a unemployed actor, waiting for the phone to ring. Audio production is very inexpensive in comparison and should be considered in many cases. We have LA Theater Works, but they can only get to a few plays and they must have an expensive overhead too with the insistence on recording with a live audience.

It is time for an explosion of professionally audio drama in the USA. With the advent of the iPod and such devices, why can't commuters be listening to a good play rather than music. Of course there are rights, union, and ownership issues. But these can be resolved somehow to the satisfaction of all, somehow, after no doubt a good deal of haggling. We can't let art suffer behind the need to make a buck, can we? (Well, or course we can and do, but let's hope for better.)