Imagine a family huddled around their living room radio in the 1930s eagerly awaiting the latest installment of their favorite narrated serial. This is the basic premise of the narrative game, Radio Play.
The Basics
Four players form a line in front of imaginary (or real) microphones on stands, perhaps with mimed (or real) scripts in their hands. Often the stage lights are lowered if not turned off completely. Each player is assigned a unique role. Player A (typically stationed stage right) serves as the narrator, Player B provides all the live Foley sounds, and Player C and D offer up all the needed character voices. Players shift organically between these three roles to craft a unique radio play.
Example
“The Wet Noodle” inspires the hero-based story.
Player A: (Narrator) “And welcome back to ‘The Wet Noodle'”
Player B: (Foley) Creates suitable improvised orchestration and punctuation.
Player A: (Narrator) “When we last saw our hero, she was blistering under the heat of the steamy desert, having been beaten to a pulp by her arch nemesis.”
Player B: (Foley) Makes hissing noises to suggest the baking sun, and the squawk of a vulture overhead.
Player C: (Character) “Oh cruel world! I’m losing every ounce of my moisture out here. I won’t be able to stand much longer of this.”
Player D: (Character) “Noodle?!? Are you out there?”
Player B: (Foley) Provides an echo of D’s voice.
Player C: (Character) “Is that you, Saucy Silvia?”
The Focus
Embrace the premise that the weight of the story is strictly verbal and aural. A lot is lost when this frame is forgotten or only passively approximated.
Traps and Tips
1.) For the narrator. Many helpful functions are housed in this position. Often, though not always, this player can provide the in and out of the game with suitably period-appropriate announcements. If the story is becoming stuck, the narrator can help by adding descriptive elements that heighten the stakes or embellish the physical features of the world. Throughout, strive to set up your fellow players for fun and then step back. Too much narration can overwhelm the story rather than enhance it, especially if the other players are primed and attacking the story. There are some inherited gimmicks which can serve if used sparingly and when they feel earned – such as major leaps in time or place, or the insertion of a “word from our sponsor” that results in a mini commercial. Though this game needn’t be superhero-themed, this is a helpful trope at least initially as you’re learning the mechanics of the format. I’m also fond of a “U-shaped” parabola story arc with each episode starting on last week’s cliffhanger and then leaving the audience on another so as to make them tune in again.
2.) For the Foley artist. My first suggestions are actually for the other players on stage as it is very easy for this function to fall out of the mix. If you have access to a musician or technician, generally they should take this game off and leave all audio elements to this player. (Sometimes a little underscoring can serve.) Narrators should strive to place their characters in interesting worlds and soundscapes so as to set the Foley artist up for joy and success. Similarly, actors should pitch strong actions, activities, and noisy props while being extra vigilant not to inadvertently provide these themselves. (If a character walks, it is the Foley artist who should provide these foot falls, for example.) It is difficult to find fun Foley moments if characters are just standing and talking in a nowhere land. Foley artists, however, shouldn’t feel wholly dependent on their teammates for cues and ideas, and should offer their own strategic and well-timed bold choices for incorporation and justification. When played with generosity and awareness, this role can and should be a great deal of fun!
3.) For the characters. These two players (if you’re working on a team of four) provide all the voices, so keep that in mind as new personae enter the mix. Once a player has established themselves as a character, it is typical for them to retain that voice for the duration. Make sure you are playing to the microphones (and possibly studio audience) rather than fully acting out the scene: there’s a delightful comedic juxtaposition when you’re hearing impassioned dialogue while watching the “actors” stand rather formally and still. (Just remember to fully commit to the reality and emotions as any voice actor would.) I really like having the non-Foley players holding imaginary scripts to sell the style of the format as well. Without overwhelming this rather elegant but challenging game, you can also explore fun tensions and contrasts between the radio actors and the characters they embody.
In Performance
I’ve found that student improvisers either love or loathe this format and that it’s difficult to get them from one camp to the other! At its core, it’s really just another storytelling frame, but its presentation provides a refreshing change from more traditional embodied scene work.
Cheers, David Charles.
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Photo Credit: Tony Firriolo
© 2025 David Charles/ImprovDr
Connected Concept: Story Series for Improv I
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