'By Virtue of a Broadcast' (Frank Shaw)
Wednesday 9 February 1927 Manchester 7.45-8.10
Monday 28 February 1927 Cardiff 10-10.25
Tuesday 29 March 1927 Bournemouth 9.40-10
Wednesday 6 April 1927 Birmingham 8-8.25
7.7.1
Captain Frank Shaw's article, 'Secrets of the Radio Drama' ('The Radio Times' 2 April 1926) has already been discussed in 6.3 and his biography given there (6.3.1). He had broadcast four plays up to this:
'Bright Gold' (R.E. Jeffrey and Frank H. Shaw) 13 October 1925 London 9.15-9.45 and 30 November 1925 Birmingham 8.45-9.15
'Outward Bound' 21 October 1925 London 8-9.45
'The Mayfair Mystery' 12 December 1925 London 10.30-11
'Milestones of Dancing and Romance' 12 January 1926 London 8.5-10
This 'By Virtue of a Broadcast' received four performances, all of these S.B. from London by the London Radio Repertory Players:
Wednesday 9 February 1927 Manchester 7.45-8.10
Monday 28 February 1927 Cardiff 10-10.25
Tuesday 29 March 1927 Bournemouth 9.40-10
Wednesday 6 April 1927 Birmingham 8-8.25
It is noticeable that 'By Virtue of a Broadcast' was not broadcast on 2LO or Daventry 5GB or 5XX.
7.7.2
The casts (ten characters) were the same for each, according to the 'Radio Times' listing.
The Rev. Hilary Standish - Dodd Mehan
First Elder - Herbert Lugg
Second Elder - Frank Denton
Capt. Standish - Henry Oscar
Menzies (First Mate) - Reginald Dance
Fyfe (Chief Engineer) - Ernest Cove
Third Mate - Dino Galvani
Wireless Operator - Lawrence Gowdy
Helmsman - Fred Vigay
Sailor – Roger Maxwell
No director is listed. But, uniquely, the production script of 'By Virtue of a Broadcast' survives in Caversham, with many cuts and some additions, and marked up for the studios at Savoy Hill. It is for the Manchester 9 February broadcast. It has the cover sheet, 'From Productions Director, Head Office' and the announcement text for 9 February. The handwriting on it is not that of Howard Rose and I identify it as R.E. Jeffrey's, the only personal trace of him in Caversham beyond his initials on a memo. So it is a fascinating insight into Savoy Hill at work.
The 'Radio Times' listings are for twenty-five minutes mostly, and the Bournemouth is twenty, and 'twenty minutes' is handwritten onto the script. The extensive cuts on the script are for the purpose of losing these five minutes and perhaps more. The date on the script is 8 February, so this must be as a result of the final rehearsal and it is the working script for broadcast, as the director sat at the Control Panel.
7.7.3
There are three studios marked: 3, 5 and 10. Studio no. 3 was the original first Savoy Hill studio, which had been heavily-dampened, originally, and was redecorated in 1927. Note that this production is not in the customary drama Studio No. 2 and Effects Studio No. 2(B), built in early 1926. (The newest and largest Studio in Savoy Hill had just been built, in January 1927, and it was No. 7.) 'By Virtue of a Broadcast' had a cast of ten. All the scenes take place in Studio No. 3 – the retiring-room at the Albert Hall (scene 1), the Albert Hall itself (scene 2) and the rest of the play, on board s.s. Adalbert (scene 3).
Studio No. 5 was a Talks Studio, built in early 1926. This was used as an Spot Effects Studio for footsteps, door, storm at sea, the breaking up of the ship, etc. But some effects must have been produced in No. 3, probably including the gramophone effects, as I argue from the cues marked up on the script.
And Studio No. 10 was the final to be added to Savoy Hill, an ex-warehouse, about a mile away, and used for big symphony concerts ('The Evening Standard' 13 February 1931). The organ there was used for the Albert Hall organ at the beginning and end of the play. This must have been live playing from the organist on cue and so it gives the acoustic of the large concert hall.
The two hymns, 'Oh, God our help in ages past' and 'Eternal Father strong to save' would appear to have been on gramophone records. The two hymn titles are handwritten on to a separate page, with two sets of (reference?) numbers. At the finale, the handwritten note suggests hymn 370 as an option.
7.7.4
The production script for this 9 February Manchester premiere has two cast changes handwritten onto the script. It was a switchover between two actors: Fred Bigay instead of Dino Galvani (listed in 'The Radio Times') as Third Mate, and Dino Galvani as Helmsman, which was Fred Bigay's role (listed in 'The Radio Times'). Perhaps they switched back to the original roles, because 'The Radio Times' stays with the original list for the remaining Cardiff, Bournemouth and Birmingham productions. There does not seem to be an obvious reason for the switch.
The opening announcement is as follows:
The Play opens in an anteroom at the Albert Hall where a few elders and the Rev. Standish speak of the congregation which he is about to address in the adjoining hall. Shortly after the service commences the action moves to the s.s. Adalbert at sea in the Bay of Biscay. (We learn that the Reverend has a son at sea, and this is the son in the storm. He will be saved from the sea and a mutinous crew when they tune in to 2LO to hear his father's prayer.)
This final sentence is emended from the typescript which was longer:
The service is little more than started before it fades away and we find ourselves at sea in the Bay of Biscay, on the deck of the s.s. "Adalbert".
7.7.5
The first scene is in a retiring-room at the Albert Hall, Sunday evening, 30 December and 'the throbbing strains of a great organ are audible'. The script is marked 10 (for Studio 10 and the organ) and Studio 3, where the actors are. There is 'the confused sound of a great audience taking its seats'. Distantly the people assembled for worship sings "Oh God our help in ages past".
Studio No. 5 is not marked in here, and the 'great audience' and hymn-singing must have come from gramophone records in No. 3, I suggest. The opening dialogue is between the two Elders and the Rev. Standish:
First Elder (admiringly) You are to have a tremendous audience tonight, Mr. Standish.
Second Elder In spite of the weather. I was afraid many would stay away; but they refuse to be deterred.
Standish (cheerfully) I don't think our Londoners are such fireside Christians as certain pessimists would like us to believe.
First Elder But provision has been made even for the weaklings, Mr. Standish. You're aware of course that your service to-night is to be broadcast?
Standish Yes. I'm aware of my tremendous responsibilities, well aware of them. But I count it a high honour to be permitted to address such a vast concourse – it makes me feel humble.
Second Elder Probably ten million people will hear you, Mr. Standish. And if they are all as enthusiastic as your visible congregation – I looked into the hall just now – sir, you have a great gift but you also have a great responsibility.
Standish I pray God the seed may fall on fertile ground.
(handwritten) Wind [note not Studio 5 and presumably this FX comes from Studio 3]
FX: (There is a howl of wind, and a sluishing of driven rain against the windows.)
Standish I pray God I may do good – throw a little leaven into the world.
FX (handwritten) Wind.
Standish What a terrible night! Brethren let us pray. (Prays)
7.7.6
After this prayer, Standish leaves:
(handwritten) 5 [Studio 5 is faded up]
FX (Footsteps as he moves towards door. Organ and singing swill in volume as the door opens.
Then after a couple more lines from the Elders:
(handwritten) 10
FX Clamour of wind and rain – Scene shifts to main hall. Singing and organ drown sounds of gale. There is a suggestion of stir and movement. Organ and singing cease as Standish takes place on dais. There is an instant and very impressive hush. It endures for a moment; then wind and rain are heard loudly. ) [presumably Studios 10 and 5 are faded out now]
(handwritten) 3 [Studio 3 is brought up]
Standish Let us pray.
FX (Stirring and rustlings, silence. Sotto voce)
Standish Oh, God, touch my lips with Thy finger and grant that I may worthily glorify Thy Holy Name.
So the production here is clear. The organ is brought in from Studio 10, Spot effects in Studio 5 and actors in Studio 3, and grams effects from, as I have suggested, 3. This is a rather elaborate crossfade. The organ and singing establish the new location of inside the Albert Hall. Standish announces the Hymn, 'Eternal Father, strong to save' and as the organ 'peals forth', nos 10 (organ) and 3, actors' studio, are marked on the script, suggesting that the grams was in Studio 3. There is also a handwritten note: 'At end of first verse, fade in storm'.
7.7.7
The second scene begins:
(handwritten) 3 [Actors continue in Studio 3]
FX: (The Scene is the deck of the s.s. Adalbert, in the Bay of Biscay. She is eighty miles S.W. of Ushant Light. A hurricane is blowing, it is night – the same time as Scenes 1 & 2. Heavy water is crashing aboard: wind is screaming. Funnel-guys harp in the wind. Occasional crashes as ventilators are torn away. The ship is fighting desperately for life.)
Menzies Chief Mate. She can't stand much more of it, sir – she's beaten.
Capt. Standish I put my faith in God, Menzies. I always have – I always will. In God and my men. He's never turned his back on me yet; even when I've been most hard-pressed.
Menzies We'll need all he can do for us to-night, then, Captain Standish. I've no faith in miracles myself. We're a bit trifling in the big scheme.
Captain Whatever we need, Mister, he'll do it. Look out!
FX (handwritten) Sea.5 (Big seas fall viciously: a scream of torn metal and confusion. The wind howls.)
Captain (handwritten) 3 [Fade in Studio 3] Ah! Look out! (His voice is choked and gasping.) [Fade out Studio 3]
FX (handwritten) 5 (Footsteps. A pause) [Fade out Studio 5 or keep up for next FX]
(handwritten) 3
Captain (breathlessly) Are you there, Mister Mate?
Menzies (spluttering) Yes, sir. All that's left of me. Are you hurt, sir?
Captain Not to speak of. Lend a hand.
FX (struggles and splashing) [no handwritten note for this – perhaps Studio 5 was kept faded up for this]
Captain Ah, so that's all right.
7.7.8
The elaborate description of Frank Shaw's at the top of the scene of the storm ('Funnel-guys harp in the wind. Occasional crashes as ventilators are torn away.') is assigned to Studio 3. This suggests that Spot Effects (in Studio 5) were not involved for this establishing of the storm and that this, on broadcast, was simpler than the script requests. The 'Sea' and Studio 5 marked in, (handwritten), are the first of the many Spot storm effects.
The handwritten 5 and 3, in that order, continuously through the script suggest a swift crossfade out of Studio 3 actors' dialogue and then into Effects Studio 5. That is, Studio 3 is swiftly faded out for Studio 5 Spot. Then, when that sequence of Effects has finished, Studio 3 is faded in again. This is an either-or method of dealing with elaborate Spot, grams and dialogue. They are grouped separately. (The plot situation of sudden irruptions of storm damage is relevant here. )
This Phase 3 type production made use of the multi-studio set-up, but here, in an either-or way. This was simpler. In 'By Virtue of a Broadcast', there is not a continuous background of elaborate storm, grams and Spot combined. The grams atmos storm must have been played in Studio 3 all the time, I suggest, alongside the actors and in relays of four-minute disks. But Spot storm effects are confined to regular inserts. The script does not take the lead here, surely, and was drafted according to the current technology of the either-or method. Studio 5 Spot is only faded in for these short inserts and is not kept on air all the time. This is a restricted use of the multi-studio method, demanded by the then technology.
7.7.9
The remainder of the play is this long scene three, where the boat starts to break up, the crew to mutiny, Menzies to challenge the existence of God, and the Captain alternately to pray and to hold the crew at bay by threatening to shoot them.
'Sea' and 5 are regularly handwritten. The FXs include the following:
(Page 5)
FX: (handwritten) 5 (Tumult of wind and sea. Clangings of loose wash ports, splinterings. The ship rolls, clangings, sluicing of loose water. There is a rasp of spindrift. Effect of a gale at its height.)
(handwritten) 3
Most of pages 9 and 10 are cut out and this was a debate with the mutinous crew, which did not advance the plot, though the Captain also offers them whisky.
7.7.10
At the climax, the Wireless Operator turns on Station 2LO – 'Good old 2LO' cry the crew, though they say they are hoping to hear some jazz - and as Captain Standish prays aloud, for some time, then they hear the Sunday Night Service. Over the storm comes, on their ship loud speaker, the Albert Hall prayer of the Captain's own father:
[Fade in effect of Albert Hall service from Studio 3, but reproduced over the Ship's radio loud speaker]
Loud Speaker (reproducing Standish in the Albert Hall) Let us pray with all our hearts and fervour for such as be battling with the elements, and near their death.
FX (Pause, crash of organ)
Loud Speaker (reproducing Standish in the Albert Hall)
(handwritten) A church service or the 370th hymn
Eternal Father, strong to save – Whose arm hath bound the restless wave – etc.
FX (There is a temporary lull in the storm which causes the singing to sound loud and triumphant. In the silence the singing continues. Men stir and fidget. Singing. Pause)
(handwritten) Dies to a background
Captain (triumphantly) Men, Almighty God is fighting for us to-night. He's on our side still.
FX (Stirrings, movements)
Omnes Sound like it , don't it!
FX (Much movement)
Captain Down below, men, work - work! We won't give in, I believe in God – He's spoken to us to-night.
Omnes Ay ay, Sir – we'll do our bit yet. Come on, mates.
FX (They stumble away; some of them singing: Eternal Father)
Captain Thank God! Thank God!
FX ( Storm continues, though with slightly diminished note.)
Captain The day of miracles isn't yet past. Come, Mr. Menzies – our place is on the bridge.
FX (Storm continues. Slow fade-out.)
(handwritten) Up and out.
7.7.11
How was the following effected?
[Fade in effect of Albert Hall service from Studio 3, but reproduced over the Ship's radio loud speaker]Loud Speaker (reproducing Standish in the Albert Hall) Let us pray with all our hearts and fervour for such as be battling with the elements, and near their death.
The 'Echo Room' had just been built, so that might have been used, but there is no note of this on the script. There must have been some treatment of the character's voice to suggest radio transmission picked up by the ship. The alternative to the echo method is that the Rev. Standish's voice came through a loud speaker in Studio 3 and that he spoke from the Announcer's cubicle into the Studio.
7.7.12
The faults in the scripting are exposed enough. It has none of the narrative drive and psychological detail of many stage one-act plays. Characters are both loquacious and simplistic, the dialogue remains dowdy throughout and the plot is so thin. It poses tremendous themes and sets them in a storm, but fails to rise to melodrama. Only the sound effects are shrill, because the theme and characterisation does not rise to the occasion. For today, the religious theme comes over as soppy. The long static storm finally results in – as Frank Shaw recommends in his 'Secrets of the Radio Drama' – a 'middle-climax' (mutiny of the crew) and a final 'clean-cut' ending. What other advice of his own does he follow? He does not have a small cast, the action is 'brisk' in some ways' and there is a 'hint of the occult and supernatural' (6.3.6). There are certainly lots of effects and the sea (6.3.2).
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