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Tuesday, November 24, 1992
A TIG PRODUCTION IN ASSOCIATION WITH KASIDAN PICTURES A MICK JACKSON FILM KEVIN OSTNER WHITNEY HOUSTON "THE BOUNDYARD"
GARY KEMP BILL OBORS RALPHA WHTE EDITOR RICHARD A HARRIS PRODUCTION DIRECTOR EFFREY BEECROFT PRODUCTION DIRECTOR ANDREW DUNN ALAN SLUIVESTRI WRITTEN BY LAWRENCE KASIDAN
PRODUCED BY LAWRENCE KASIDAN JIM WILSON AND KEVIN OSTNER INTERIELED MICK JACKSON
OPENS NOVEMBER 25TH EVERYWHERE
The Workshop began with an ensemble of amateurs, but as time went by, the show attracted performers more experienced in radio, theater and film.
ENTERTAINMENT
Meil Peier, a KU theater professor,
joined the group four years ago and
The Corporation for Public Broadcasting awarded the Workshop a grant totaling nearly $125,000. The grant helped buy new equipment and pay performers, who had worked for free before. The money also lured professional comedy writers across the country to submit skits.
For a radio show such as the Workshop, the grant was the difference between security and surviving on a sohestring.
It turned out to be a formula that earlier this year helped bring the show its greatest achievement to date.
"It's very expensive to do a show like this," says Brogdon, who is also program director at KANU. "That's why you don't hear much of this on radio. Because it's cheaper to have somebody sit in the studio and play records."
Just as the format of the show evolved over the years, so did the makeup of the cast.
UNIVERSITY DAILY KANSAN
Continued from Page 5.
"With this show, we may be doing 14 different characters in one night," she says. "I can't think of a performing situation more delightful than that."
Roberta Solomon, a drive-time newscaster on Kansas City's Lite 99.7 FM and veteran of television commercials and industrial films, is in her second year with the show.
The writing, directing and performing keeps improving, Meier said, and that's testament to Brogden's dedication to the show he created.
"We got terrible reviews a few years ago, but he made sure everything kept improving. Darrell just keeps at it. He doesn't give up."
"Listeners always mention that they'd like to hear more comedy," says Fisher, program director for eight West Virginia radio stations. "It's a format that I think hasn't been explored enough recently."
If he succeeds, it may be because a demand exists for this kind of show that is not being met.
"Given the opportunity, I feel that there could be a show like that in this country as well," he says.
Brogdon hopes that the Workshop could someday become a "Saturday Night Live" of the radio. Only one show currently has that stature, "Royal Canadian Air Force," a show that has millions of listeners north of the border.
"As an actor, it's a real rest because you don't have a lot of lines to learn,"UMP.
Now Brogdon is using the show's success to push his Lawrence radio show further onto the national stage.
She has build a repertoire of voices so large she says she's losing count of them all. That's not surprising consid- ering that the instructors at a Workshop player performs.
Comedy key to Workshop's success
Maybe someday, with the right amount of imagination and work, when the red light goes on in Liberty Hall, the Workshop will be broadcast live not only in Lawrence but also to people all across the United States.
"The success of the show is due to the persistence of Dearll," he said.
brought along his experience from more than 100 BBC radio plays.
But the Imagination Workshop represents a different kind of performance than Meier's usual fare.
"The sort of stuff we do on Imagination Workshop is not really acting," he says. "It's just doing characters, cartoons and satire."
Unlike stage plays, rehearsals last only about four days, and scripts are always in hand during the show.
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