In 2020 while the world was pivoting to understand the new realities of life under a pandemic, Colleen Snell, Callahan Connor and I brainstormed a way to do the same with what was supposed to be the next show from Frog in Hand: a live Toronto Fringe dance-performance set to an audio version of H. G. Wells’ classic tale War of the Worlds.
All of a sudden, we didn’t have a deadline. The realities of live performance anytime soon seemed like a dream that disappears as soon as you wake up. So what’s a dance-theatre company to do? Probably many things, but we decided to turn to the world of audio dramas, having already been inspired by Orson Welles’ famous 1938 reimagining.
We didn’t want to just copy the brilliance of Orson Welles’s piece. We wanted to make something different. Something our own. And now, locked away in our homes because of a deadly bug, we had time to create.
The three of us decided to split the task so we would each have an opportunity to tell a portion of the story. Together we listened to the original book and collected images and narrative techniques that resonated with us.
What really stood out to me, listening to this story written in 1897, was the sense of awe the narrator in the first half showed in the face of the unknown and potentially unknowable. Everything seemed, on that listen, uncertain; details would change from paragraph to paragraph. The narrator would question their own senses. It reminds me of the same techniques Jeff Vandermeer uses so effectively in his weird fiction such as Annihilation and Borne. I talk about all this in a bit more detail here.
And so my story began: the story of Alix, a person wanting to escape it all and reconnect with the world around her. So she plans a trip with her friend Sam, a solo canoe trip in the heart of the Algonquin before convening at a meeting place to venture further into the woods as a duo.
Little do they know that while they are dealing with their own journeys, something much larger is about to change the world forever.
After months of joint writing time over Zoom accompanied by instrumental albums; workshopping with the Frog in Hand Summer Company; engaging audio genius Miquelon Rodriguez (@troysteel) who advised us how to set up recording studios in our closets surrounded by sweaters and blankets for optimal sound capture; rehearsing and then finally recording everything, we had something. By the end of the year we were able to hand it all over to Miquelon.
And what he sent us back was stunning. To imagine a world and write it on paper is one thing. To hear that world come to life in your ear holes is quite another.
My introduction to the War of the Worlds Reimagined project, The Algonquin Tapes, premiered at 2021’s Digital Toronto Fringe a received some wonderful reviews.
And now the entire trilogy is available online.
Each part takes a different angle and throws you into a new setting and cast of characters as the world deals with this new unknown.
Here’s an excerpt from part three: Back on the Air written by Callahan Connor.
I’m really proud of what the team has created here. Colleen’s piece, Last Day, is a visceral piece of writing and Callahan’s, Back on the Air, is this charming bit of hope and community.
If you’d like to get away from a screen for a bit and listen to a 3-part story about the world ending and then not ending, I’d be so happy to hear what you think.
a field of crowns 