Interview with Barbara Rosenblat

 

from the vault: Barbara Rosenblat is one of the most prolific and talented narrators around, and a pioneer of the industry. Highly praised for her exuberance, interpretive skill, and range of dialects, she is clearly one of the finest and most listenable of performers. The possessor of many loyal fans, she lives in New York City.  She is winner of a new Audiobooks Today Influencer award.

JONATHAN LOWE: Could you tell readers, what is your background prior to your association with Recorded Books?

BARBARA ROSENBLAT: I have been an actor since leaving university, although, truth be told, you couldn't shut me up when I realized in third grade that people seemed to pay attention when I was asked to read aloud. That improved my reading skills enormously. Up until that time I only enjoyed looking at picture books. I still prefer to read slowly, and never skim as I need to
get settle on the dramatic arcs and rhythms of any new project early in the game. Anyway, after a few shows in New York I moved to the UK where my professional career took off in earnest. Since I was born in London, I had no trouble joining the union and beginning my quest for work. I started with a National tour of 'Godspell' that culminated in a 6 month run in London's West End. Then it was official, and I could get an agent and continue my career. I lived there for 14 years appearing in plays, TV, regional theatre and film and radio.

LOWE: And that led you to the business of narrating?

ROSENBLAT: Yes. London was also where I recorded my very first audiobook. I had been doing commercial voice-overs and film dubbing for years, so this seemed a natural extension of my talents. It was an awful 'Scottish-Canadian' logging romance for Harlequin Books. That was followed by a lot of young adult pulp fiction and other long narrative works. But the bulk of my 'training' in the audiobook world came when I was invited to join the stable of actors at 'Talking Books for the Blind' on my return to New York. The Library of Congress was very specific in its requirements, and I did over 200 titles for them over the years learning alot along the way. During that time, someone put me in touch with the people at Recorded Books, and after my audition, I recorded my first commercial title for them, "Jamaica Inn", by Daphne du Maurier. Lots of English and Cornish accents. . . I was in my glory.

LOWE: A natural, as they say. So, from reading in class to acting to narrating for the Library of Congress and Recorded Books?

ROSENBLAT: I suppose the career found me, since I continued to record for both places until I got my first Broadway gig. I created the role of 'Mrs. Medlock' in the Tony award winning musical, "The Secret Garden." I also served as production dialect coach and we ran for two years. The performance schedule limited my recording time during the days so I just recorded for
RB. They have always been flexible with actors' hours.

LOWE: Most people haven't even read half as many books as you’ve narrated, let alone gone through the work of narrating them. What is the process you've developed toward narrating?

ROSENBLAT: Well, there are always words and place names and snatches of melody that need researching for accuracy. You know darn well that if an obscure place name is miss-said, it will interrupt the listener's flow and we never want that to happen. Dialects and characterizations must be precise so that the listener can follow, but not so labored that you tire your
audience. It's a fine balancing act, staying true to the author's objectives at all times.

LOWE: I know you've done readings at museums and for the openings of new libraries. But you also teach people how to narrate now, too, don't you?

ROSENBLAT: I held my first Masterclass in the Art of the Audiobook here in New York City.

LOWE: Who attended the lecture, and what did they think?

ROSENBLAT: Those who attended were all professionals in other recorded mediums. They were most taken with the subtlety of this medium, and how it is married to the endurance needed to complete a long novel of many characters.

LOWE: Do you think narrating is more difficult than other kinds of acting, or is it just different?

ROSENBLAT: Narrating a novel is a completely different skill from any other acting discipline as the voice--and the voice alone--becomes the 'silver screen' for all the books intent. A successful narrator will elevate second rate material, and make the good stuff gleam in a new arena.

LOWE: Describe the experience in the studio.

ROSENBLAT: I only require five things during the recorded process. A good nights sleep, a full tummy, a comfy chair, good lighting, and fine headphones. All the rest, the studio space, the technology, the water supply, the director and engineer--these are all the purview of the publisher. You work together to make sure it is as comfortable an experience for all concerned as possible. Two hours of finished recording will take a minimum of four hours in the studio. Of course the difficulty of the material is always a factor, too.

LOWE: What genres do you most enjoy?

ROSENBLAT: I have to say, I have made somewhat of a career doing mysteries and romances. But frankly, I have done such a variety of stuff over the years that it is just easier to say that' a good book records itself and I am just along for the ride'.

LOWE: Any favorite titles you've done?

ROSENBLAT: Many. 84 Charing Cross Road, The Shell Seekers, Tortilla Curtain, Bridget Jones' Diary, The Queen and I, and on and on...

LOWE: You've won a lot of awards, particularly the Earphones awards given by Audiofile. How many are you up to now?

ROSENBLAT: Many, and The Audie Award for Best female Solo narration of Bridget Jones' Diary. That's my 'Oscar,' and I am so proud of it.

LOWE: Do you travel much between coasts?

ROSENBLAT: Some, and I did go to Hollywood to take part in a recording of 'The Dybbuk', a wonderful audio drama with Theo Bickel and Ed Asner. We won an Audie for that production.