Can You Guess this Actor and Narrator?

Anthony Heald

Anthony Heald acted in plays throughout high school and college, and spent 15 years working in regional theater before settling in New York. He quickly established himself there by playing Tom in a 1980 Off-Broadway production of The Glass Menagerie, and two years later made his Broadway debut alongside Holly Hunter in Beth Henley’s The Wake of Jamey Foster. His performances in Anything Goes and Love! Valour! Compassion! earned him Tony Award nominations, and he was recognized with an Obie Award for his work in the productions of The Foreigner, Digby, Henry V and Quartemaine’s Terms. In film, he has appeared in Silkwood, Outrageous Fortune, and in Silence of the Lambs, with minor roles in The Pelican Brief, The Client, A Time to Kill, Kiss of Death, Searching for Bobby Fischer, Postcards from the Edge, 8MM, Proof of Life, Red Dragon, and Accepted. His over sixty audiobooks to date include Where the Red Fern Grows, The Pelican Brief, Jurassic Park, Midnight in the Garden of Good and Evil, (which was a Clint Eastwood movie and is now a Metabook at iTunes), The Great Gatsby, and many others. He currently resides in Ashland, Oregon with his family, where he is a member of the Oregon Shakespeare Festival acting company. 

JONATHAN LOWE: Has acting always come naturally to you, and if so, to what do you attribute that–a sensitive nature, curiosity, imagination. . ?

ANTHONY HEALD: I’ve always loved to act, and I guess it’s come instinctively to me. I attribute that to a number of factors: I have a vivid imagination, I’m insatiably curious, I’m an empathetic person. But mostly, I think, the support and encouragement I always got from my family was a major factor in my attraction to the theater and acting, and the decision to try to make a living as an actor.

Q: You’ve done a wide range of acting in your career. What’s most and least gratifying, artistically speaking?

A: For me, the most gratifying kind of work I can do as an actor is in live theater. I love to rehearse – to explore, over a period of weeks, the imaginative life of a character; to find organic behavior for that character that helps to illustrate who he is and what he wants. I love to connect with my scene partners, and to have the opportunity to go through a project over and over again from beginning to end.

Q: If you could have any role to perform, and any book to narrate, what would they be, and why?

A: At this stage in my life Lear is beginning to look more realistic! And I’d love a chance to do Falstaff. As far as audio recording goes, I’ve recorded about half of Chekhov’s short stories – I’d love to finish that.

Q: You have SF and particularly Star Wars productions in common with narrator Jon Davis, although I’ve only heard you in SF titles like Eifelheim by Michael Flynn and Ubik by Philip K. Dick. Were yours full cast and sound, or solo narration, and how did they come about?

A: The Star Wars audiobooks I did (about 35 or 40 of them) were all solo narration, with music and sound effects added later on. Alas, I’m not a big science fiction fan.

Q: We love Black Mask Audio Magazine. Have you done any other full cast productions or radio dramas, and was it particularly fun for you, working with Blackstone Audio?

A: Black Mask was the only full cast radio drama I’ve done. We’ve recorded full cast audio recordings of the Shakespeare productions done at the Oregon Shakespeare Festival in October. Our first was “King Henry VIII”, since no one can predict how many decades will go by before we do that play again!

Q: Ashland, Oregon has turned into like this mecca, or Los Angeles North, for audiobook narrators, now that Grover is head of production at Blackstone there. Are you and Tom Weiner and the gang still doing productions at the Oregon Shakespeare Festival, too? And does the place merit a tourist visit?

A: I’m in my 6th season at OSF, and will be returning next season as Shylock. Ashland and the Festival are definitely worth a week-long visit!

Q: What’s next up for you? More classics too, I hope. You did a wonderful job with The Great Gatsby, Moby Dick, and Crime and Punishment.

A: I hope I get to do more classics – “Crime and Punishment” was great fun to do!

Peter Berkrot Interview

Peter Berkrot

Jonathan Lowe) How did you come to voice acting? 

Peter Berkrot) I started acting and training in New York in 1973 when I was in 13 or 14, so how I came to voice acting is like how I came to Massachusetts or marriage. The longer the trail, the more paths there are. My focus then was theatre, of course. I was a theatre major at SUNY New Paltz but when I was cast in Caddyshack halfway through college, I began to see my career through a more expansive lens. The majority of voice work came when I left New York in 1989 and moved to New England. Very soon, I was doing VO work for documentaries, occasionally playing the American translation voice for the on camera speakers. That eventually translated into a great relationship at WGBH in Boston where I’ve been doing that type of work for FRONTLINE since 2004.

JL) Wow. A fav movie, and a fav PBS series! Bannon’s War? As a footnote, I once communicated with Frontline’s main narrator Will Lyman, who also did the voiceover for Jonathan Goldsmith, the World’s Most Interesting Man, who has a biography out titled Stay Interesting, which Goldsmith reads on audio. Interesting story, too. Jonathan says he was living out of his truck, and was killed on screen as an extra more than anyone, until that Dos Equis commercial. Lyman can’t talk about it, still under contract. Other formats? Commercials, games, documentaries?

PB) There was a ton of industrial work in the 90’s and 00’s so I did all sorts of on camera and VO work, often playing characters with a variety of dialects. Then I did a bunch of local games, creating a character called “I.M. Meen” at the end of the MS-DOS revolution. Google it. People have taken my song and twisted it around so I’m saying all sorts of nasty things. I started looking into audiobooks in 2006 and did my first in 2007.

JL) You recorded The Art of War, which is Trump’s favorite book, and a big seller. Any thoughts to share on the Machiavellian Sun Tzu philosophy, and if you think it relates in any way to Leadership and Self Deception, or maybe the stress levels described in Why Zebras Don’t Get Ulcers, both of which you’ve also narrated?

PB) I was lucky enough to come of age between wars so I never experienced the horrors of war either first or second hand. I actually always feel a bit like a fraud when I’m playing all the real life and fictitious Navy Seals and marines I do in books. For The ART OF WAR I found that I was most authentic after channelling my inner Klingon, giving context I could understand to experiences I could not. As for this being trump’s favorite book, an oxymoron if I ever heard (or met) one, I would be astonished if he ever read a book cover to cover that didn’t include instructions on connecting the dots. It is a favorite of some of the greatest warriors, generals and military strategists in history and that’s part of his delusion so no doubt he said that. I bet his other favorite is the Bible.

JL) Yes, but he couldn’t name a favorite verse.

PB) If he were somehow “clockwork oranged” and forced to read the whole book, there is no indication that he understood a single concept based on how he conducts himself. I’m sure his lawyer’s lawyer’s spokesman would agree. As for LEADERSHIP AND SELF DECEPTION, unlike many self-help books in the Business category which are about leveling the playing field and getting the edge on the competition, this is a much more spiritual approach to leadership, asking the listener to look within him or herself to deeply evaluate ones relationship to oneself, to others, to work and so forth. It is about growing and getting out of your own way and not blaming or undermining anyone else along the way. It’s tremendous popularity is probably attributed to the creative prose which is a series of scripted scenes and opportunities for self evaluation. There actually are some connections between THE ART OF WAR and WHY ZEBRAS DON’T GET ULCERS, although it may seem to be reaching. The ability to reduce stress will add years to your life. Planning for every contingency in battle and holding the better defensive position requires a calm and logical mind as well as strength and resolve. In Dr. Sapolsky’s book, he brilliantly illustrates through the explanation of his title why we can also live longer, though the war is internal. Stress is supposed to be a survival mechanism. If you’re a zebra running from a lion, you absolutely require the adrenaline and hormonal barrage that stress brings to make sure you’re not the slowest zebra in the herd. The moment the threat is gone, the stress levels drop to neutral and the zebra renews his strolling and grazing. A human being would lie there on the steppes and worry about the next lion until one came and he’s ‘run and worry and run and worry’ until eventually, he’d die of a heart attack or diabetes.

JL) We’d eat pizza too while worrying. Comfort food. What did you read as a teen that may have influenced you?

PB) I loved series books as most kids do. And Dr. Seuss. But I was 6 or 7 when the original STAR TREK hit the air and 12 or 13 when I saw my first Twilight Zone. Those were my major influences which drew me from the small screen to the small page. I started writing a lot of Horror and Science Fiction stories, big on time travel. Then the real reading kicked in. Robert Heinlein’s STRANGER IN A STRANGE LAND was huge for me and everything by Kurt Vonnegut. Then Catch-22 and Stephen King.

JL) You narrated a couple of Richard Matheson titles, who was a short story master, like Ray Bradbury. You’ve also done Philip K. Dick and Dean Koontz. That’s a lot of genres under the umbrella “speculative fiction.” Any preferred genre?  

PB) Yes! Time Travel! Anything related to time travel! Watching STAR TREK and TWILIGHT ZONE naturally led me to Harlan Ellison, Richard Matheson, Ray Bradbury, Isaac Asimov. Of all the comic books I read as a kid I liked Legion of Super Heroes best because they were in the future. When I get to narrate anything by Philip K. Dick or the others in this genre, I feel it as an honor and a challenge, a thread connecting me to my past and my future.

JL) Another footnote, did you know Harlan Ellison is an audiobook narrator too, and he knows the scoop on both Star Trek and Scientology first hand? His tell-all is the audiobook The City on the Edge of Forever, the story behind the script he wrote. He actually saved Star Trek from cancellation, early on, by petitioning for it. Bradbury helped launch Playboy magazine, too. Fahrenheit 451 was first published in the first issues. What is next for you?

PB) In terms of books, “Caddyshack, The Making of a Hollywood Cinderella Story” by Chris Nashawaty is just released, certainly the most personal and bizarre narrating experience I had, especially quoting myself. Next I go into the booth to record BLOWN by Mark Haskell Smith, the sixth novel of his I have had the extraordinary pleasure of narrating. Funniest. Guy. Ever. Then, the opposite. The brilliantly crafted but emotionally shattering memoir THE END OF THE WORLD AS WE KNOW IT by Robert Goolrick for HighBridge Audio. And then I’ll be spending 46 hours with Dwight D. Eisenhower courtesy of Audible Studios. More books. More teaching! I haven’t talked about my teaching or private coaching but its one of my strengths and passions. More Skyping, and maybe one day I’ll save up enough money to do a play again. While I can still memorize. And walk.

JL) I once saw a woman walk into a tree while reading a print book. As I passed her with my iPod, I said one word: “Audiobooks.” Thanks for taking time for an interview.

Happy World Book Day

Ariana Grande

Reading list?

Playing with Fire

Audio Drama

Click on image above for link to the Radio Drama, which is downloadable for your local radio station or website. Produced for Sun Sounds Radio for the Blind (art museum related horror,) with a link to the charity. Free download; several others are there too. Full cast and sound. In news, my novel Awakening Storm has been released at Audible, narrated by ESPN horse racing producer and voiceover talent Barry Abrams. 

Barry Abrams

Hurricane Season

Never Judge a Narrator by their Cover

Horror movies

Lorna Raver is a film and stage actress who also has a career as an audiobook narrator. She records for many publishers, her next to be about the public school system titled “These Schools Belong to You and Me.” Her longtime companion was the late great Yuri Rasovsky, the Grammy winning radio drama icon. Lorna starred in a horror movie DRAG ME TO HELL, directed by Sam Raimi (very much out of character for her…she’s a sweet lady, whom I once met at the Audie awards in LA.)

JONATHAN LOWE: Which came first for you–stage acting or voice acting?

LORNA RAVER: I started as a stage actor and stage acting will always be closest to my heart. I love inhabiting another life. I love the discipline of stage work, the challenge of re-creating night after night while keeping it fresh, the interaction with other actors – and with the audience, the exercise of all your skills – mental, spiritual and physical. My first experience with voice acting came about when I was hired to do a play for Yuri Rasovsky’s prestigious National Radio Theatre in Chicago. As is the case with most stage actors who do audio drama, I had a ball! Learning how to convey vocally what one might express physically on stage was very exciting, and there’s no better teacher for that than Yuri.

Q: What are the difficulties and similarities involved?

A: Discovering the emotional resonance of your character and the play as a whole is not significantly different from stage acting, but the techniques required of the actor are different. For example, you may have an emotionally intense scene with another actor but because of a necessary mic set-up, you may not be able to make eye contact with that actor – you must convey all the interaction with your voice. You really learn how to listen! And you really learn how to mean what you say and say what you mean! Of course, voice acting broadens your casting opportunities, too. If you can realistically sound like an old person or a child, you can be hired to play one, even though you may be neither.

Q: I can’t think of any narrators who haven’t acted on stage or on TV at the very least, although I’m sure there must be some. What must a TV or film actor learn in order to make the transition to voice acting, given that he or she can’t be seen?

A: Audiobook narration, to me, is not as closely related to stage acting as is audio drama. Fiction narration certainly requires the ability to “act” the characters in the book and to honor the arc of the narrative, but audiobooks present other challenges different from stage, TV or film acting. Technically, there is the simple fact that you are restricted in movement for long stretches of time. You’re sitting in a booth and you need to be always aware of mic position. Audiobook narration can be grueling and requires mental and vocal stamina. It is incredibly focused work. I am blessed with vocal stamina so that after hours of recording, it is rarely my voice that goes, it is my brain!

Q: What about creating multiple character voices?

A: When it comes to creating different voices for different characters, I don’t feel that I have a good vocabulary for describing that process technically. It’s related to the same process one would use creating a character for stage, film or TV, except that an audiobook may require a dozen different characters not of the narrator’s age, gender or race, all of which need to be distinct, identifiable and consistent. Listening to and practicing voices and accents are useful, but you also need to apply them appropriately. If you really want a tutorial on how to broaden your “voice library,” go out for an evening with Barbara Rosenblat. She studies the sound of everyone she encounters from the cab driver to the waiter to the lady eating at the next table!

Q: What a great suggestion! Have interviewed her. She’s fantastic. Now, was it easier for you to transition to film acting than it might be for someone doing the reverse, do you think?

A: I didn’t really transition from audio to film since, while I had done audio drama before I worked in film, it was only after I had done a substantial amount of stage and TV and some film work that I began narrating audio books. However, the difficulty of audiobook narration is often underrated by those who haven’t done it. On more than one occasion while working on a film or TV show, I’ve had other actors tell me that they tried narrating audiobooks and it was just too hard! Episodic TV requires stamina, but the work flow is so different. You shoot a scene then break then shoot again then break and so on rather than spend an hour or more at a time in the booth recording.

Q: What types of audiobooks do you most enjoy narrating?

A: All types. I like the diversity of narrating both fiction and non-fiction. I think fiction is much more demanding and having the occasional non-fiction break is refreshing to me.

Q: Full cast must be a lot of fun, working with Yuri. I only met him once, after he produced one of my novels. Radio drama is the only acting I’ve tried myself, as solo narration is beyond me. As a medium, it is very time consuming and therefore rare. Any favorites there?

A: The kick you get from acting in audio drama is closest to the kick from working on stage! Yuri is such a skilled audio director, and always gets wonderful actors for his productions, so I’m ready to go whenever he has something he thinks I’m right for. I had a chance to do some “audio noir” or channel my inner Barbara Stanwyck! in his Hollywood Theatre of the Ear production of BLACK MASK AUDIO MAGAZINE for Blackstone Audio, and also had a good time playing a Brit in his Audie Award winning production of THE SHERLOCK HOLMES THEATRE, also for Blackstone Audio.

Q: In non-fiction, I see you’ve recently narrated CHEAP–The High Cost of Discount Culture. What was the research like?

A: My main goals in non-fiction narration are clarity and conveying the “mood” of the book. The research involved in preparing for a non-fiction read is often much more extensive and time-consuming than for fiction. For example, I read two books on ancient Egypt for Tantor: TEMPLES, TOMBS & HIEROGLYPHS and RED LAND, BLACK LAND both by Barbara Mertz, and which involved major research. It is of invaluable assistance when the author is available for consultation, as was the case with those two books, but you don’t always have an author contact. One thing I really like about non-fiction narration is that I learn so much – especially about topics I would not necessarily be drawn to otherwise.

Furman

Lorna Raver has narrated both Cujo by Stephen King and an audiobook about Mother Teresa.

Lorna Raver:

 

Acting & Listening Advice from Alan Alda

Alan Alda bookMost communication is nonverbal. We want to look at the faces of those testifying in Congress and detect lies or deceit. They try to keep their faces blank in order not to telegraph this, but subtle clues or reactions are there in their voices and tone, too. Their pauses, gestures. Alan Alda talks about how the face is judged, not for just beauty or ugliness, but for believability. Why paying attention to people’s reactions or expressions when they talk is most important in understanding WHAT THEY MEAN. Mostly we misunderstand what people say or mean, but by truly listening and observing we have a better chance of connecting (and resolving conflicts too.) Instead of waiting for people to stop speaking so we can make another point, Alda’s point is to LISTEN with all our senses with the objective to UNDERSTAND. Not to “win” an argument by demeaning or defeating anyone (or everyone) seen as an opponent. Great new audiobook upcoming June 6. Order at Tower Review. As James Garner once put it: “I don’t act. I react. Give me a reactor over an actor any time. It puts you there in the moment, and you’re less likely to flub the way you read your lines, too.” Alda was in the movies Bridge of Spies, The Aviator, Everyone Says I Love You, Manhattan Murder Mystery, and Crimes & Misdemeanors. On TV’s MASH, and Scientific American Frontiers. He has won 7 Emmys, and is a big fan of science. “At first I think they just wanted a famous face do the introduction, and then narrate off camera, but I wanted to be there and interview the scientists.” He’s read Scientific American magazine since a kid.

Ariana Grande

Romance Book Winners

 

Romance novels

The romance finalists in the Audie awards this year are: 

Dirty by Kylie Scott, narrated by Andi Arndt, published by Macmillan Audio
 
Duke of Sin by Elizabeth Hoyt, narrated by Ashford McNab, published by Hachette Audio
 
First Star I See Tonight by Susan Elizabeth Phillips, narrated by Nicole Poole, published by HarperAudio
 
Glitterland: Spires, Book 1 by Alexis Hall, narrated by Nicholas Boulton, published by Hedgehog Inc Productions
 
The Obsession by Nora Roberts, narrated by Shannon McManus, published by Brilliance Publishing