Stephen Potter (Wikipedia) produced the radio version of Moby Dick, and his correspondence and diaries lend some idea of what an arduous task such an undertaking could be: a year in the making; acquiring a composer and getting the music just so; editing Reed's script; with delays owed to casting and illness—everything down to the wire until just before broadcast.
Julian Potter falls victim to one of the classic blunders, however: he gets Reed's name wrong. Throughout the book he mistakenly confuses Henry Reed with the author Henry Green. This is simply unconscionable, and can only be forgiven if one supposes the senior Potter referring to Reed by Christian name only in his interoffice memos and diary entries.
Here is the section from Potter at the BBC concerning the production of Moby Dick, with Reed's name properly amended (pp. 195-197):
Moby Dick
Stephen's longest single production was Moby Dick, a radio adaptation of Melville's novel by Henry [Reed]. It lasted two-and-a-quarter hours and was of a length that only listeners to the Third were expected to tolerate. [Reed] had written it while working during the war as a cryptographer at Bletchley. Presumably he had a broadcast in mind, but at the time he affected to despise radio. He was converted by The Dark Tower [by Louis MacNeice]. After hearing it, he wrote to MacNeice in January 1946, 'I have always thought your claim for radio's potentialities excessive; I now begin, reluctantly, to think you may be right.' Stephen had read [Reed's] adaptation and promoted it: at a lunch with [Sir George] Barnes on 31 January it was agreed that he should produce it and that it should be earmarked for an early broadcast on the Third. 'Will [Benjamin] Britten do the music?' wrote Stephen in July. As Melville's Billy Budd was later to be the subject of a Britten opera, his treatment of Moby Dick would have been of great interest; but in the event the music was written by Anthony Hopkins.
Hopkins later described his task, saying that as soon as Stephen Potter asked him to do it, he realized that it would require a full orchestra and that since so many players crammed into the studio along with the actors would be disruptive, the music would have to be pre-recorded. He had the knack of reading aloud the text while at the same time playing his music on the piano. This helped to get the length of each stretch right, but in case of overruns, he had for the first time used two gramophones. The music that accompanied the more meditative speeches was such that if the actor overran, the music too could continue, while the music for the next scene could start with the other gramophone whenever the moment came.
For Ahab, Stephen wanted Ralph Richardson, who just at the wrong moment went down with 'flu. Stephen managed to get the already scheduled programme postponed until January. He wrote to [Laurence] Gilliam:
Stephen's longest single production was Moby Dick, a radio adaptation of Melville's novel by Henry [Reed]. It lasted two-and-a-quarter hours and was of a length that only listeners to the Third were expected to tolerate. [Reed] had written it while working during the war as a cryptographer at Bletchley. Presumably he had a broadcast in mind, but at the time he affected to despise radio. He was converted by The Dark Tower [by Louis MacNeice]. After hearing it, he wrote to MacNeice in January 1946, 'I have always thought your claim for radio's potentialities excessive; I now begin, reluctantly, to think you may be right.' Stephen had read [Reed's] adaptation and promoted it: at a lunch with [Sir George] Barnes on 31 January it was agreed that he should produce it and that it should be earmarked for an early broadcast on the Third. 'Will [Benjamin] Britten do the music?' wrote Stephen in July. As Melville's Billy Budd was later to be the subject of a Britten opera, his treatment of Moby Dick would have been of great interest; but in the event the music was written by Anthony Hopkins.
Hopkins later described his task, saying that as soon as Stephen Potter asked him to do it, he realized that it would require a full orchestra and that since so many players crammed into the studio along with the actors would be disruptive, the music would have to be pre-recorded. He had the knack of reading aloud the text while at the same time playing his music on the piano. This helped to get the length of each stretch right, but in case of overruns, he had for the first time used two gramophones. The music that accompanied the more meditative speeches was such that if the actor overran, the music too could continue, while the music for the next scene could start with the other gramophone whenever the moment came.
For Ahab, Stephen wanted Ralph Richardson, who just at the wrong moment went down with 'flu. Stephen managed to get the already scheduled programme postponed until January. He wrote to [Laurence] Gilliam:
Only by postponing can we get Ralph Richardson for Ahab. He is far and away the best actor for the part: he has the exact right combination of earthiness, ordinariness and inspired fanaticism.... If he acted Ahab, it would make this production (provided I could play my part) one of the most successful and exciting programmes that the Third Programme and indeed the BBC has ever done. Thursday and Friday, 23 and 24 January 1947. Now I start to get going with Moby, in the biggest production I have ever had to do with. Difficulty No. 1 is New Statesman and News Chronicle. I have to go to NC in the morning. In the afternoon we do the music and I like the sound. But I have to prepare tomorrow's gigantic readthrough with large cast, many of which I do not know. First horror — Ralph has 'flu (again!) and threatening laryngitis and must spend tomorrow in bed.The Friday read-through, scheduled for 10.30 am to 5 pm, took place without Richardson, although he was well enough to take part in the actual production. Because of its length, it was pre-recorded in four parts over four days of the following week and broadcast in two parts on the Friday. The cast also included Bernard Miles as Starbuck. In line with the Third's new policy, a recorded repeat was broadcast on 18 February; and in September, there was a new production of the whole thing. Substitutes had to be found for Bernard Miles and two other actors, but Richardson was again Ahab:
After many more distractions, I really get going on preparing the script (87 pages) at eleven pm and have broken the back of it at 6 o'clock in the morning. This late night made me in what I felt to be tense and therefore bad form for the read-through at Langham [Broadcasting House].
Saturday and Sunday, 6 and 7 September. Two days full rehearsal of Moby so as to leave Monday, transmission day, clear. I have been dreading this; but in fact I have enjoyed it. Ralph is in superb form. He shows us a correction of a misprint: the sentence which spoke of 'our defective police force' should of course have read 'our detective police farce'. The gorgeous thing about these rehearsals is that Ralph, the monarch, treats me as if I was Prime Minister, and sends my stock up with all the other actors in consequence.The programme was repeated a number of times thereafter. [Reed], as has been noted, became a prolific and admired contributor to radio. Nearly all his subsequent programmes were produced by Douglas Cleverdon.
Oddly enough, I was unable to find a listing for the new production of Moby Dick in the Times' BBC broadcasting schedule for the week of September 8, 1947, but there is a copy of a script with that date among Douglas Cleverdon's papers at the University of Indiana's Lilly Library. (This may be a good time to point out that the BBC taking their Programme Catalogue offline is a serious impediment to research.)
