8.1.1
There was a reduction of 11% in play output in 1928 by comparison with the previous year. Here are the figures:
| 1928 | 1927 | 1926 | 1925 | 1924 | |
| Total of play nights across all Stations: | 294 | 338 | 183 | 314 | 46 |
| Total of separate pieces broadcast: | 310 | 354 | 197 | 335 | 71 |
| Number of full-length plays: | 28 | 33 | 28 | 48 | 18 |
| Number of one-act plays (adapted from the theatre): | 220 | 264 | 156 | 281 | 43 |
| Number of originations: | 13 | 12 | 13 | 17 |
However, the large-scale productions in 2LO became more prestigious, building on 1927. Examples are 'Rampa' (Max Mohr) 7 March 1928 2LO London 9.35-11.0, 'The Master Builder' (Ibsen) 19 March 1928 Daventry 7.30-9 and 20 March 1928 London and Daventry 9.40-11, and the revival of 'Lord Jim' (adapted from the Joseph Conrad novel by Cecil Lewis) 10 April 1928 Daventry 5GB 7.45-10 and 11 April 1928 London and Daventry 9.20-11.35.
Originations, though barely an increase on 1927, were larger and lead by Cecil Lewis's spectacular 'Pursuit', which is discussed in 8.3. ('Pursuit' was broadcast on 6 January 1928 Daventry 8.45-10 and 7 January 1928 2LO London 5XX 7.45-9.15).
8.1.2
A key administrative decision was taken in December 1927 at a 'special meeting in London':
'All agreed that the production of important long plays should be left to London'
(Source: Play Library Docs 1 February 1928 letter from RHE A.C. (P) to Station Directors)
This change was slow in coming. The Manchester Station for example, broadcast 57 plays through the year, and these included some large-scale pieces. Examples are:
'These Fathers' (James Lansdale Hodson) Saturday 14 January 1928 Manchester 7.25-9
'The Soul of Nicholas Snyders' A Mystery Play in Three Acts (Jerome K. Jerome) Monday 2 April 1928 Manchester 7.45-9
If anything, the length of productions edged up to an hour and a quarter in some instances. The Cardiff Station also broadcast fifty five plays during the year.
8.1.3
There was yet another experiment with the Narrator Method (3.1.9), this time claimed by Cardiff in a 'Radiologue' called 'The Centurion's Escape':
The Radiologue is a development of microphone technique in presenting a story. The narrator's function is somewhat analogous to that of the chorus in Greek drama, the aim being to obviate the third person references which tend to spoil the continuity of the action.
(12 January 1928 Cardiff 7.45-8.40 (mixed))
This may have been a repackaging of the commentator-narrator.
8.1.4
The same internal Savoy Hill memo, mentioned above (8.1.2), gave autonomy to the Regional Stations in the choosing of plays 'except in special cases'. The past advice given by the Productions Department had given Station Directors sufficient guidance to take over the selection themselves. In fact, the build-up of previous productions since 1923 meant that some pieces and playwrights were being taken up by Station after Station. Edwin Lewis, the writer, for example, had twelve productions to his credit in 1928, Maurice Baring eight, and Harold Brighouse ten.
The Savoy Hill memo warned about care in production:
There are many of these [shorter plays] which require special handling. Examples may be quoted such as "The Death of Tintagiles" by Maeterlinck, "The Storm" by Drinkwater, "The Maker of Dreams" by Oliphant Down. When transmitting works such as these and many others that could be mentioned, it is essential that their interpretation and presentation shall be fitting and worthy of the material, otherwise we might be doing something which would arrest the advance and popularity of radio plays rather than increase or enhance it. However, the selection of these plays is to be left to your discretion, and I am confident that you will exercise it with every care with regard to the general considerations involved.
These three examples contrast greatly. The Maeterlinck is a poetic Symbolist piece, and was broadcast twice, directed both times by Lewis Casson:
1 April 1924 2LO London S.B. to other stations 7.30-9.30
28 February 1927 London 9.45-111.15 (mixed)
Briggs described the broadcasting of 'The Death of Tintagiles' as one of the 'most unlikely plays' (Briggs, 1961, 181), going on a remark of Gielgud's. Like 'The Storm' and 'The Maker of Dreams', special care was needed with the poetic language.
Main Index | Chapter 8 Index | Section 8.2