At the invitation of Alternative Stories's Chris Gregory, I've created this behind-the-scenes article-come-production diary for 'The Angry House', an audio play in the horror genre that I wrote for the Pen to Print Awards. You've got the opening section of this story from several months ago, when The Angry House won their Audio Play Competition, with the most significant part of the award being that the play would be produced by Alternative Stories, an audio production company that you may know for Emily Inkpen's Dex Legacy project. I was sort of acting as an assistant for Chris, as well as having input as the original play's writer. I initially thought "eh, split into two articles", then I decided "nah, do a longer article after it's been recorded". That recording date was Monday 20th October 2025.
One thing that I was expecting, but turned out to be both more or less harrowing overall, was the edits that came after the script won the award. Just because it won doesn't mean it was perfect. For one thing, because of the script's inspirations in late 19th to early 20th Century pieces, I needed to update the language to be less formal and--by modern standards--stilted. After that came scheduling meetings, and after that a full hour and a half dedicated to just going through the script with Chris, reading through it, checking for anything I'd missed on a first pass, trimming out some bits that were maybe a bit too 90s. Because the play is set in 1999.
After that, there was the casting, and on my end that included listening to reels as they came in and once everyone had auditioned who would audition, it was time to make the choice. Two of the actors were the only ones to audition for those parts, and thank goodness because they were very good for those roles. The other two were a choice between four or five a piece, and it was a bit of a process narrowing it down to the final choice. We only needed four actors for the roles, as I'd deliberately wrote it to be a small cast, and I was able to get two of the actors to double up roles.
Then, on this last Monday, there was the table read. For those who've seen behind-the-scenes stuff from television or film productions, a table read is basically a run-through of the script so people can get a feel for it. In this case, it was a virtual table-read with some scenes done out of order to accommodate for one member of cast that needed to head off in a hurry. It was also a little longer than expected, as I had added some extra bits at Chris's suggestion for one of the cast members who initially had just one scene. Oh yes, the cast. What a cast it is, all Alternative Studios alumni and with notable CVs in their own right. The recordings well done by the time this goes up so I don't think it should be a bother to reveal them. The cast is;
*Charlie Richards as Harry Wells -- An actor who among other things worked on Emily Inkpen's Dex Legacy as Ren Dex, and also appeared in a recent production of The Play That Goes Wrong.
*Marie-Claire Wood as Agnes Wells -- An actor with range, with credits across multiple Alternative Story productions, feature films, television and classical theatre.
*David Monteith as Gerald Fairly -- A voice and mo-cap actor who has done extensive voice-over work across podcast, films and video games. To some he is Minister Rizet from Emily Inkpen's Wasteland, to others Neueirus from Metaphor re Fantazio or a number of voices in Baldur's Gate 3.
*Sarah Golding as Samantha Gregory -- Creator of Quirky Voices, a versatile actress with too many credits to roll off. Just...so many.
The table read went surprisingly well, and it was still a little odd hearing my words out loud from someone's lips other than mine. Or with the cast of actors I've got as simulacra in my head to bring them to life. I was braced for rough reads, fumbles, awkward moments. There weren't many, just a couple of edits that needed to be made; one based on a suggestion, and one that was a genuine mistake. There was also the question of accent, which was mostly RP (received pronunciation), but there was one Devon accent needed and some question about the kind of RP to be used. I also had to account for the fact that the actors were doing it virtually over a Zoom meetings call, so...not ideal. It wasn't a studio environment with specially-designed microphones and a sound-proof space. There were also a couple of casual interactions that were just funny and broke the ice a bit.
With that cast, and joined by the production crew including Chris and myself, we gathered together at Orpheus Studios in London. After, of course, slightly losing my way. Cities always do that, it's always one door further back or further on than I think it must be. The rest of this article is more in the line of a journal or diary. So...enjoy.
(The events of the day during recording start at time codes.)
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| Cast and Crew at Tea |
10:30-ish; At the studio. At this moment, the actors are warming up. The likes of "pepperoni macaroni" and lip burbles are emanating from the green room. I struggle not to burst into unseemly fits of laughter. The sound engineer Richard Campbell is setting up, and the studio is preparing to enter into the realm of "oh help I'm really going to be listening to my dialogue being recorded". The set-up is a large soundproof room with four mics and two booths. The first scene recorded is Scene 3, with Charlie and David. Marie-Claire is a little late, due to other commitments. Edits were required due to some issues related to repetition of some phrases or some odd wording.
11:02: Marie-Claire has manifested during the second take. The takes are going quite well so far, with some adjustments and talk with the actors to get the right tone for scenes. After a time between scenes where we chatted in the green room, we dived into the first scene. Some stumbles, but otherwise some good chemistry appearing to help get the scene on point with the different character interactions. Always important. Golding also doubled-up the voice of another bit part, which was a huge help. After the scene was completed, we completed some isolated parts for a smaller part that book-ended some scenes. Genuinely moving.
12:15: The beginning of another session with lots of stuff. A scene with a lot of dialogue, including some bits of humour that I was afraid would sound better on the page. Turns out, they sound great. It sounds strange in a way, without the sound effects or anything else, but there is a feeling of it coming together. Also, some questions about pronunciations. And then....LUNCH! (or rather, lunch, which wasn't that great in my case, because eating out for me is like spinning a semi-rigged roulette wheel)
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Sound engineer
Richard "Orpheus" Campbell.
Image courtesy of
Chris Gregory,
Alternative Stories. |
14:11: Back onto scene recording, an emotional scene now and struggling to keep my head straight after the phenomenon of lunch. This one needed some more fine tuning for the script, specifically some word choices so that the actors could have the dialogue flow better. This bit is really showing how much smaller inflections and additions from the actors can make the scene fully come alive. Also the scene in particular is a pretty pivotal and emotional one, so we needed to do an extra take to get as much of it down as possible. And then David had to do some extra bits for a smaller part.
15:24: Next was a very long two-hander between Sarah and Charlie. It's a long and narratively-important scene, and also one with some pretty intense content. Sarah is a great actress, and Charlie was coping very well with a pretty chunky sequence. And yet more pronunciation. Also some small adjustments needed, one in particular at Charlie's suggestion. It's the one that went the best at the table read last Monday, so as expected this went fairly smoothly.
16:24: After a tea break once the scene was completed, we headed into another scene that was a three-hander. It seemed to go fine overall, although the names of some of the characters did somehow derail a performance or two--plus the banter--into the cursed realm of She-Who-Will-Not-Be-Named-Ever-More. Overall, it's been going well. Only two scenes left to go; the two final ones obviously.
16:44: The penultimate scene, which has a prolonged period of one person both narrating a scene and being part of it, and this one went so incredibly smoothly. The only one that didn't need three takes, only two. And this was the one scene at the table read we didn't have the time and facilities to go through in full. Moving forward, we hit the final scene, where all the actors came together to perform in one crescendo. We were all feeling a little tired and quite relieved. I got the chance to set the opening fear factor of the scene (on a scale of 1 to 10, a solid 6). The first run went well, although there was some adjustment to tone and wording needed. That seems to be the running theme. Once the big scene was completed, and a b-roll for the final section was recorded, we moved onto Charlie's final narration. He got it first take essentially, but we took a second for the sake of safety.
Recording wrapped up bang on 17:30.
There was of course a nice post-wrapping meet-up at a local pub, where I spent some time with them hearing stories and enjoying the vibes, but I'm not usually someone who stays out late. And I needed food. So I regretfully bowed out, but not because I didn't want to stick around despite being with this small collection of people since around 10 AM that day. It's no exaggeration to say I loved my time during this recording, working with these actors, and I look forward to both the rest of the production cycle, and potentially working with these cast and crew on something again. If the opportunity ever arises.
Lessons I've learned during this session that I shall take forward.
*I have an ear for general mood, but Chris beats me hands down when it comes to particular inflections and line-to-line needs.
*I have a knack of creating complicated sentences and long stretches of dialogue that can easily trip actors up, but that they also love getting used to.
*I must prepare to clarify pronunciations for words that I might think "Really? That needed clarification?"
*Editing on the fly is a necessity up to even this stage when everything's recorded.
*Adlibs aren't dead, and in fact can and will pop up in unexpected places to often enlivening effect.
*Actors in the green room and the pub, and the recording box, have a filthy sense of humour. More please.
*It's never one and done, even if the first take was so good it might as well be. A second is always taken. Sometimes it can run to 4+, or bits of a scene may be re-recorded in isolation.
*Having visited London three times in ten months for various reason, I'm decided: I don't like London that much compared to Oxford or Bristol. I just don't vibe with it.
*I really love being part of a diverse group of people, be that based on ethnicity, background or sexuality.
Thanks to everyone. And here's to the next phase, for all of us.
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| Cast and writer after recording; 17:40, 20 October 2025, Orpheus Studio in London. From left to right; Sarah Golding, David Monteith, Thomas Wrightson (me), Charlie Richards, Marie-Claire Wood. Image courtesy of Chris Gregory, Alternative Stories. |
