UK blogger Natalie Rowe, who gave Peak Season four stars, thinks Mila Kunis should play CW McCoy . . . if Candace and her crew ever make it to the big screen.
Natalie writes, “The thing that is most memorable to me about CW is her quick wit. To me, there is no other person that could give CW this unique sarcasm like Mila Kunis can in her roles. She can play the bad-ass independent lady but also add in a little sass and seductiveness.”
Sassy and seductive. . . . Is that how you see the young former detective who faces down kidnappers, assassins and tourists on a daily basis? And here I was thinking Scarlett Johansson on a motorcycle. Or Six Feet Under’s Rachel Anne Griffiths, or is that over the top?
Who do you think should play CW? Leave your comments here and we’ll revisit the question, with photos, in another post.
Alan Wade is a busy man. When he’s not teaching theater at The George Washington University, he’s acting in plays (King Lear), movies (The Pelican Brief) and TV (House of Cards Season 4).
He’s also narrating audiobooks, including Mr. Mayhem, the first in my series of crime novels starring a defrocked journalist turned PR whiz named Brinker. And one by another chap, fellow named Watson. Ring a bell?
Alan took some time recently to talk about the influence of stage and screen on audiobook narration.
Alan Wade as the drunken clerk in Shaw’s “Augustus Does His Bit” for the Washington Stage Guild (Colin Hovde Photography)
What’s the most challenging part of audio narration? Being in a confined space for a few hours. Thankfully, I’m not claustrophobic!
Who are some of your favorite authors and why? Well, here’s a clichéd response: Shakespeare tops my list. His work simply does not exhaust an exploration of human character and motivation, and it’s the locus for a discussion of an extensive range of ethical, political, and social issues. Samuel Beckett comes in second for me. Clearly, not a popular dramatist, but, like Shakespeare, though with a much narrower social purview, Beckett is sensitive to the richness of human character and motivation. It would perhaps not be a surprise that the first one-person theater show I did was based on Beckett’s prose work (I, from the Prose of Samuel Beckett at Chicago’s Victory Gardens Theater), and that the second was comprised of scenes from Shakespeare’s plays (Shakespeare in Soliloquy).
How do you prepare to perform an audio piece? I do articulation exercises and drink water. I don’t read the book in its entirety as that would not be “cost-effective.” I skim a chapter before I do it to see what characters are involved.
When you’re narrating a work with multiple characters, how do you differentiate among them? Let’s take Brinker as an example. There were two traits that led me to his voice, which I will characterize as harsh or “gravelly.” The first is his attitude: he’s a wise-ass. The second is his substance abuse, pretty much of all kinds. This suggested to me that he wouldn’t have a healthy voice (contrast his with my rendition of the Colonel’s voice).
So, a character’s attitude, whether it’s a male or female character, dialect or accent requirements (assuming I can do them credibly), and certain vocal stereotyping of character (a “whiner” might be nasal in vocal resonance).
What new and exciting projects do you have coming up? Coming up for Audible is a new Sherlock Holmes collection for which I’m delighted to “be in England” as Dr. Watson.
Listen to the second chapter of Mr. Mayhem as Alan Wade brings Brinker and the cast to life:
Alan Wade is a character. It’s a description he likes, one that has brought him work in theater (King Lear), movies (The Pelican Brief) and television (House of Cards Season 4). And one of the reasons he was drawn to the narration of Mr. Mayhem, the first in my series of crime novels starring a defrocked journalist turned PR whiz named Brinker.
Alan is a veteran of film, television and stage. Actor, writer and director, he has appeared in regional theater and off-Broadway, as well as television (Homicide) and film (The Pelican Brief, Major League II).
For almost four decades he has served as a professor of speech communications and theater at The George Washington University and directed 30 plays there. His professional work has won praise from After Dark magazine and The Washington Post.
For his latest project, Alan drew on his extensive stage experience to bring the dark story of Mr. Mayhem to life as an audiobook, as he explains in this two-part interview, conducted shortly after he finished the narration.
Alan Wade as Sgt. Rough in “Angel Street” for the Olney Theatre Center with Julie Ann Elliott (Stan Barough Photography)
Tell us a bit about the path you took to a career in acting and narration. I was a freshman in high school when the “bug bit.” I took some after-school courses, went on to Northwestern University’s theater program, to Catholic University’s drama program (M.A.), and back to Northwestern for a Ph.D. in what is now Performance Studies. Intertwined with this academic work was a stint as a resident actor at Center Stage in Baltimore.
You’ve appeared in everything from King Lear to The Pelican Brief. How has stage and television influenced your voice work? Well, I’m what is thought of, certainly now, as a character actor, which can often involve roles differentiated in part by changes in vocal characterization: dialects, accents, vocal qualities, and other speech mannerisms. My first Equity role was as Billy Bibbitt in One Flew Over the Cuckoo’s Nest at Center Stage. Billy suffers from a pronounced stammer.
How does audiobook narration differ from your other projects? You’re by yourself and, for someone like me who enjoys the culture of theater and its sociability, this aloneness is a pronounced difference. I’ve done two one-person shows during my stage career, so I’ve had a performance experience that approximates being in a booth alone, but there was always the audience to provide companionship.
What do you like best about voice acting? In the case of audiobooks, it’s somewhat self-directed (though you do interact with the author and sometimes a producer), so there is a larger creative component to voice acting of this kind.
Next: the challenge of multiple characters.
Listen to Alan Wade bring Brinker to life in the first chapter of Mr. Mayhem:
Murder is murder, whether it’s in a play by Shakespeare or a popular television show. Which is one of the reasons House of Cards actor Alan Wade agreed to narrate Mr. Mayhem, the first in a series of crime novels I’ve written to feature the defrocked journalist turned PR whiz known as Brinker.
“There were two traits that led me to his voice, which I will characterize as harsh or gravelly,” Wade said. “The first is his attitude: he’s a wise-ass. The second is his substance abuse, pretty much of all kinds.”
Mr. Mayhem has garnered widespread praise from the critics. Kirkus Reviews calls the work “eccentricity at its finest in a detective story, and proof that a flawed protagonist can still earn sympathy.” And My House Our House author Louise Machinist says the novel “socks you in the gut like a shot and a beer. The mayhem never stops in this plot-driven thriller in creepy small-town PA, where there’s not a hero to be found.”
Set in the snowy mountains of Northeast Pennsylvania where I was raised, Mr. Mayhem is published by Allusion Books and available through Audible, Amazon, iTunes, Barnes & Noble, Kobo and my website.
Listen to the audio sample as Alan brings Brinker and his crew to life.
My uncle and I were visiting the restroom during a showing at the old Eric Theater in Allentown, Pennsylvania. I didn’t want to miss the good parts of the movie but Uncle Max had other priorities. Leaning into the urinal, he heaved a huge sigh and exclaimed, “Ah, the pause that refreshes.”
As a kid I didn’t get the reference to the Coca-Cola slogan but I could tell he felt relieved. His point has become all the more poignant as age has inflated everything in our lives, from prices to prostates. Sometimes it makes liquids and films incompatible.
That’s why I was intrigued to discover RunPee.com, a website and app that suggest the optimum time to pause for a bio break during a movie. Take the most recent James Bond film, “Skyfall.” At minute 63 Bond raises his drink in a salute to the bodyguards. Here’s what RunPee advises: “You will have five minutes to pee while . . . cut to Bond and the three bodyguards fighting. It’s a really poor fight scene. Bond and one of the bodyguards end up in the Komodo Dragon pit.”
There’s more plot summary so you don’t feel left out of Monday morning water cooler conversation, after visiting the pit, slit trench, latrine or (if you’re Canadian) kaibo of your choice.
Here’s how it works. Download the app to your smartphone. Select the movie you are about to watch. After the credits end, start the timer. Your phone will vibrate before each suggested break in the movie. You can then run to the bathroom while reading what’s happening back in the theater.
The app is available for Android, Apple and Windows 7 operating systems. Or you can see runtimes and read reviews on the website.
Here’s why the app was invented. Dan Florio was watching the remake of “King Kong” around Christmas of 2005. The movie was about 3 hours long. “By the end of the movie I desperately needed to pee,” he said. “Like so badly I couldn’t enjoy the movie. But I wasn’t about to leave the theater before it was over.”
Those of you who’ve seen the movie know Dan could have sneaked out for dinner and another film and not missed much. But diligent movie buff that he is, he devised a cutting-edge solution with low-tech research. His family views each “wide release” movie on opening day. They watch for 3-5-minute spans where “nothing really exciting, or funny, or important happens” and leak the plot results.
You’re now free to roam about the water closet. Just don’t drop the phone.