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The Story of Nathan Hale   By:

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DRAMATIC HOURS IN REVOLUTIONARY HISTORY

The Story of Nathan Hale

BY HENRY FISK CARLTON

Edited by CLAIRE T. ZYVE, Ph.D. Fox Meadow School, Scarsdale, New York

BUREAU OF PUBLICATIONS TEACHERS COLLEGE, COLUMBIA UNIVERSITY NEW YORK CITY

HOW TO BE A GOOD RADIO ACTOR

The play in this book has actually been produced on the radio. Possibly you have listened to this one when you tuned in at home. The persons whose voices you heard as you listened, looked just as they did when they left their homes to go to the studio, although they were taking the parts of men and women who lived long ago and who wore costumes very different from the ones we wear today.

The persons whose voices you heard stood close together around the microphone, each one reading from a copy of the play in his hand. Since they could not be seen, they did not act parts as in other plays, but tried to make their voices show how they felt.

When you give these plays you will not need costumes and you will not need scenery, although you can easily arrange a broadcasting studio if you wish. You will not need to memorize your parts; in fact, it will not be like a real radio broadcast if you do so, and, furthermore, you will not want to, since you each have a copy of the book in your hands. All you will need to do is to remember that you are taking the part of a radio actor, that you are to read your speeches very distinctly, and that by your voice you will make your audience understand how you feel. In this way you will have the fun of living through some of the great moments of history.

HOW TO FOLLOW DIRECTIONS IN THE PLAY

There are some directions in this play which may be new to you, but these are necessary, for you are now in a radio broadcasting studio, talking in front of a microphone. The word ( in ) means that the character is standing close to the microphone, while ( off ) indicates that he is farther away, so that his voice sounds faint. When the directions ( off, coming in ) are given, the person speaking is away from the microphone at first but gradually comes closer. The words ( mob ) or ( crowd noise ) you will understand mean the sound of many people talking in the distance.

Both the English and the dialect used help make the characters live, so the speeches have been written in the way in which these men and women would talk. This means that sometimes the character may use what seems to you unusual English. The punctuation helps, too, to make the speeches sound like real conversation; for example, you will find that a dash is often used to show that a character is talking very excitedly.

THE STORY OF NATHAN HALE

CAST

CAPTAIN NATHAN HALE CAPTAIN WILLIAM HULL GENERAL WASHINGTON BOS'N LIEUTENANT POND SIMON CARTER LIEUTENANT DREW [BRITISH] MRS. CHICHESTER CAPTAIN MONTRESSOR PROVOST MARSHAL CUNNINGHAM

ANNOUNCER

We present here the story of the famous Revolutionary hero and martyr, Nathan Hale. For the first scene of our sketch, let us go to General Washington's headquarters in New York City. It is early September of the year 1776. In the Orderly room, outside of General Washington's private office, sits Captain William Hull, a member of the General's staff. Another officer comes through the door, Captain Hull glances toward the newcomer, jumps up, and exclaims

HULL

Nathan Hale! As sure as I'm alive!

HALE

William Hull! Well, well, this is a surprise!

HULL

And you're a Captain! My congratulations, Nathan.

HALE

I might say the same to you, William!

HULL

What regiment are you in?

HALE

Knowlton's Rangers. And you?

HULL

Well, as you see, I'm on the General's staff. I envy you! Knowlton's Rangers, eh? Ah! There you have some chance for adventure! Some chance to distinguish yourself, while I

HALE

Why, what's wrong with a staff appointment? I'd be honored if it were offered to me.

HULL

Yes, so was I... Continue reading book >>




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