The history of it all went like this — Around 1985 the newly formed Bantam Audio Publishing wanted to do some of my Dad’s stories as a audio book product. They were very cautious, he was their first foray into the business, and wanted to start with short stories (why this was safer still makes no sense to me). He thought his old short stories didn’t offer enough value and, as a compromise, the idea of dramatizing them was born. After the first couple of shows were produced he was “unhappy with the quality of the actors” and asked me to look into it. My take, after some investigation, was that the actors were as good as any we could possibly hire, New York professionals who were doing film and TV and ads and theater every day. The problem was the writing.

Now since they were exact transcripts of Dad’s stories that bit of information went over rather poorly at first. Eventually, however, I convinced him that prose and performance were two completely different mediums and I convinced the people at Bantam to pay for writers, screen writers, film students, playwrights, myself … whoever we could get. Some were better than others. The medium of audio/radio is laden with stereotypes. Same with the Western genre. Both reduce the IQ of writers phenomenally. Getting good scripts was very challenging. At the same time the original team was also continuing to produce scripts in the original “transcript style.” There were a couple of series about certain characters (like Texas Ranger Chick Bowdrie) that had been started as transcripts so we continued them that way to maintain the style. So, anyway, the sources of scripts, transcript and adaptation, are all mixed up in time … there is no one moment when we clearly changed over.

Though I worked on many shows in many different roles I am particularly proud of Merrano of the Dry Country and (though the sound effects production is wimpy) Unguarded Moment. The last program we did came out in 2004 and is called Son of a Wanted Man. It is longer and I like it even more. Now, being as arrogant as anyone, I like my own work … and being as insecure as anyone, I’m embarrassed with it’s many faults. The last thing I would do is to suggest that what we do is superior to anyone else’s efforts, that’s up to the listener to decide. I would suggest that the inclusion of a Narrator is like the difference between black and white or color, it may appeal to some people’s taste or be appropriate to certain creative choices but it doesn’t make or break a story. I freely admit that if I could always achieve my storytelling and acting performance goals while NOT using a Narrator I would accept it as the higher expression of art. I am in awe when it works well but I cringe when it doesn’t. We all approach projects differently. That’s what makes horse races.

We are still producing material, albeit at a vastly slower pace. We are currently working on our first non western since Unguarded Moment 20 years ago. It is called The Diamond of Jeru and is based on both a L’Amour novella and the screenplay I wrote for a USA Network movie of the same name. We only get about 9 weeks a year to work on it (both Paul O’Dell and I have other careers now) so it’ll be a year or more before we are done with it.

For a great deal more info go to –

http://www.sonofawantedman.com/

http://www.louislamourgreatadventure.com/LiteraryAdventure08-Movie.htm

http://www.theraider.net/features/interviews/beau_lamour.php

Best,

Beau L’Amour

Powder River on the other hand follows the basic concept of what makes a full cast audio work. The shows tells its stories through the voices of the people, the music and the sound effects. No omnipotent narrator is heard. We’ve carried the show for around 4 years now on a once a month basis and of all the series we broadcast, and we’re on the air 52 weeks a year for over 15 years, Powder River is our third most popular. There are a LOT of people who enjoy it.

Also, something called Zorro: The Legend Begins has been, or is being produced by American Radio Theater. So CRT and Mr. Rasovsky’s productions are not the sole audio presentations. Your comment on CRT not casting Duncan Regehr reminds me of a write in campaign that was attempted when we announced the production. I will also add this comment reads almost exactly like some of the other posts I have seen, but under different names. Sorry you don’t like POWDER RIVER – cheers

Jerry’s absolutely correct, CRT’s Zorro is fun but it doesn’t quite hit The Mark and neither does he when he states “it seems like everyone and his brother is doing a ZORRO audio production.” There’s only one other group who has made a Zorro audio production and that was Hollywood Theater of the Ear. HTE’s production of The Mark of Zorro is easily one of the best radio dramas ever made. CRT’s ZORRO productions though nicely done could have taken a giant step toward greatness had they cast Duncan Regehr in the title role of their shows. And for those who’d like to know how it was Zorro came to return to the world of audio drama, it’s thanks to a gentleman named Daryl McCullough. He has worked hand in hand with Zorro Productions to return the original caped crusader to this wonderful entertainment medium.

I’ll add that CRT’s Perry Mason productions are quite good. Those who like good radio drama will definitely want to add Captain Blood and Buck Alice to their collections. If you like westerns CRT’s Little Big Horn is very well done and among the best. However, Powder River leaves much to be desired. I’m sure there are those who enjoyed it. However, for those who like their westerns to have that authentic western feel the Louis L’Amour radio dramas were highly entertaining, great productions.

CRT is certainly working hard to expand their library of productions. Chan would have been a nice addition but the owner to Chan is a tough nut to crack. As is the owner to Christie’s works. Though the rumor on the street is there’s a deal in the works for the Christie stories the BBC didn’t produce to be made by someone other than CRT.

I’d also second the fact that Jim French’s IMAGINATION THEATRE and Angelo Panetta’s RADIO REPERATORY COMPANY OF AMERICA produce some great adventures. You can also add to these great radio drama groups and producers to the list: Yuri Rasovsky (Hollywood Theater of the Ear: The Mark of Zorro, The Maltese Falcon), David Rapkin and Charles Potter (Louis L’Amour Western Theater), Dirk Maggs (Perfectly Normal Productions: Hitchhiker’s Guide to the Galaxy, Superman, Batman), Peggy Webber (California Artists Radio Theater), L.A. Theatre Works, Enyd Williams, Michael Bakewell and Bert Coules from the BBC (Hercule Poirot, Miss Marple, Sherlock Holmes) , John Ainsworth’s Big Finish Productions (Dr. Who).

Again, interesting interview with Jerry Robbins.