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Physical Qualities RADIO DRAMA: A “VISUAL SOUND” ANALYSIS OF JOHN, GEORGE AND DREW BABY by PASCHA WEAVER B.S. Florida Agricultural And Mechanical University, 1997 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2012 ©2012 Pascha L. Weaver ii ABSTRACT Radio Plays are a form of classic American Theatre that relies on dialogue, music and sound effects to audibly enhance a story with no visual component. While these types of plays are no longer at the forefront of modern day theatrical experience, I believe these popular plays of the mid-20th century are derivative of an oral storytelling tradition and significant to American entertainment culture. This thesis will discuss the aspects of radio plays that viscerally captured audiences. While this concept can be applied to many popular America radio shows of the time, this thesis will focus on one form ; the black radio play or black situation comedy series. I will deconstruct different genres of radio shows and identify the elements of sound effect, imagery and patterns in speech. This thesis will apply these elements to programs about white family life, (Fibber McGee and The Lone Ranger ) as well as family comedies about black cultural life, (Amos n' Andy, The Martin Lone and Beulah Show and Aunt Jemima). In addition, it will also reveal the business of employing white male actors to voice the parts of black characters and the physical mechanics used to create a “black sound”. As the thesis reveals, black actors gain work and are hired to voice black characters. The focus is on the vocal challenges of staying consistent with the Uncle Remus-style dialect used by their white contemporaries. Part two of this thesis is an analysis of my role as writer in an original radio play/situation comedy set in a black community in the 1950's. Included in this process I will introduce a reflective journal documenting my writing and rehearsal process. Character research will chronicle each character’s relationship to the play, as well as the vocal choices explored. iii For my parents, who inspired my love for words. iv TABLE OF CONTENTS INTRODUCTION: EVOLUTION OF THESIS ........................................................................... 1 CHAPTER ONE: THEATRE OF THE MIND ............................................................................. 3 War of the Worlds ....................................................................................................................... 4 CHAPTER TWO: ORIGINS OF RADIO ..................................................................................... 7 CHAPTER THREE: THEATRE OF THE “EAR” ...................................................................... 11 Sound Effects ............................................................................................................................ 13 Studio Life ................................................................................................................................ 15 CHAPTER FOUR: AMERICAN RADIO GENRES ................................................................... 18 Comedy ..................................................................................................................................... 18 The Fibber McGee and Molly Show .................................................................................... 19 Drama ........................................................................................................................................ 22 The Lone Ranger................................................................................................................... 23 Soap Operas .......................................................................................................................... 26 Fantasy .............................................................................................................................. 27 Happiness .......................................................................................................................... 28 Women’s Roles .................................................................................................................. 29 CHAPTER FIVE: A DISTORTED SOUND ............................................................................... 31 CHAPTER SIX: LEARNING DIALECT ................................................................................... 33 Charles Correll .......................................................................................................................... 33 Freeman Gosden ....................................................................................................................... 34 v Vocal Collaboration .................................................................................................................. 35 CHAPTER SEVEN: WHITE ACTORS, BLACK VOICES ....................................................... 37 Sam ‘n’ Henry ........................................................................................................................... 37 Amos ‘n’ Andy ......................................................................................................................... 40 Aunt Jemima ............................................................................................................................. 47 The Martin Lone and Beulah Show .......................................................................................... 49 CHAPTER EIGHT: SOUND IN BLACK AND WHITE ........................................................... 52 Blacks as Blacks ....................................................................................................................... 53 Whites as Blacks ....................................................................................................................... 55 CHAPTER NINE: INSPIRATION FOR A PLAY ..................................................................... 59 CHAPTER TEN: JOHN, GEORGE AND DREW BABY ......................................................... 61 Episode I ................................................................................................................................... 61 Episode II .................................................................................................................................. 65 Episode III ................................................................................................................................. 68 Episode IV ................................................................................................................................ 73 Episode V .................................................................................................................................. 77 CHAPTER ELEVEN: DEFINING DIALECT ............................................................................ 81 Mechanics of Black English ..................................................................................................... 81 Black English ............................................................................................................................ 83 Vocal Pitch/Timbre ................................................................................................................... 86 Using Other Dialects ................................................................................................................. 86 vi CHAPTER TWELVE: CHARACTER/VOCAL ANALYSIS ..................................................... 88 Characters ................................................................................................................................. 88 Drew ...................................................................................................................................... 88 Physical Qualities ............................................................................................................. 88 Social Qualities ................................................................................................................. 89 Psychological Qualities .................................................................................................... 94 Moral Qualities ................................................................................................................. 95 Play Qualities.................................................................................................................... 96 George ................................................................................................................................... 96 Physical Qualities ............................................................................................................. 96 Social Qualities ................................................................................................................. 97 Psychological Qualities .................................................................................................. 103 Moral Qualities ............................................................................................................... 104 Play Qualities.................................................................................................................. 105 John 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