Audio Play / The New Albion Radio Hour

The New Albion Radio Hour: A Dieselpunk Opera

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The New Albion Radio Hour: A Dieselpunk Opera is a 3-Act opera composed and written by Paul Shapera. It is the sequel to The Dolls of New Albion, and the audio version of the entire play can be found here.

The Dieselpunk Opera occurs ten years after the events in Dolls of New Albion, and the featured family this time around is the O'Brians. The story is told by an all-knowing Narrator, who describes a New Albion torn apart by war.


Tropes:

  • Action Dad: John is Constance's father and a super solider.
  • All-Knowing Singing Narrator: Of the Radio Broadcaster variety.
    • Except for when Jackie hears his narration in Blood Red Dogs and has a moral disagreement. She gets into a second argument with him in the Finale over his actual role of either telling the story or creating it.
  • Badass Family: The O'Brien's.
  • Breaking the Fourth Wall: A very odd example. They break one of the walls. It's a Show Within a Show, but the players want to change the narrative.
    • First, where the second act opens, Lloyd has a conversation with Constance O'Brien who will be "playing the part" of the lead role in that act. However, as it turns out, the lead character in the second act is, in fact, named Constance O'Brien. After that, it starts to become clear it might not be as much of a Show Within a Show as it seemed.
    • In "The Underground" Constance hears Lloyd Allen narrating and starts asking him who he is. He's able to get her to "slip back into character."
    • In the third act, Jacqueline gets into two arguments with Lloyd. The first is when he wants her to execute Thomas but she refuses. The second is when Constance saves New Albion, but Lloyd finds this stupid and thinks the story would be better as a tragedy. She's the only one who can see his narrative, aside from Constance on occasion
  • The Call Knows Where You Live: Both the government and the resistance know where Constance lives.
  • The Caper: The first few songs in the second act detail Constance and Thomas stealing the MCG.
  • Character Development: John goes from a regretful drunk to a heroic solider, and Constance stops ignoring her problems and the world around her.
  • The Cult: The Voodoopunks are also the rebellion.
  • Defecting for Love: Thomas starts out as an undercover police officer, but he ends up joining the rebels to protect Constance. John does the same thing, although it's for a different kind of love.
  • Descent into Darkness Song: The Pitch starts out with a very catchy and upbeat tune. Then, about two-thirds of the way through, the music cuts out into a brief interlude that calls the dark nature of the super soldier program into the forefront before going back to the happy upbeat music.
  • Disappeared Dad: John is this to Constance.
  • Dystopia
  • 11th Hour Superpower: At the end of the third act, Constance suddenly gets the ability to save New Albion by singing a song. Lloyd Allen does not appreciate this
  • The Eleven O'Clock Number: "Storyville Station"
  • Fanfare: The Pitch from Act I.
  • Foreshadowing: "The Bust" foreshadows Constance's Character Development
  • Guile Hero: Constance. She even refers to herself as this in "Storyville Station"
  • Grief Song: "The Green Room Pale", "The Wasteland", and "The Best of Times" all apply.
  • Heroic Neutral: Constance is this until she can't be.
  • Heroic Sacrifice: John and Jackie do this to protect Constance at the Battle of Cryer's Boulevard.
  • "I Am" Song: The Green Room Pale. Doubles as a Grief Song.
  • "I Am Becoming" Song: "Storyville Station" is this for Constance when she decides to "wake-up" to the world around her.
  • Idiot Hero: Subverted. Constance is far from stupid, but she is clueless. To the point that she doesn't realize her aunt runs the resistance and her boyfriend works for the government. She loses this by the end, though.
  • Interactive Narrator: Lloyd Allen interacts with Constance in "The Underground", and Jacqueline several times.
  • Jerkass Has a Point: There's awhile there where Thomas doesn't seem so great, but Constance still can't deny that he's right in "The Bust"
    Thomas: And on this day, the party's over. It's time to wake up, there's a war to win!
  • Just Like Robin Hood: Because of the unfair laws in New Albion, Constance steals from the high-society men who have left their wives and gives the goods to their ruined spouses.
  • MacGuffin: the MCG serves no other purpose.
  • The Mole: Thomas, Constance's boyfriend, is an undercover cop.
  • Nice Job Breaking It, Hero!: Aunt Jacqueline tries to save New Albion, but nearly destroys it.
  • Not Evil, Just Misunderstood: Thomas isn't evil, just misguided. He betrays Constance, but he is trying to do what's right.
  • Outlaw Couple: Thomas and Constance seem to be this. but Thomas turns out to be The Mole
  • Parental Abandonment: John left Constance with his sister Jackie to join the war effort after his wife is killed in a bombing.
  • Phlebotinum Rebel: John becomes this by the end.
  • Rebel Leader: Jackie turns out to be one.
  • Recruiting the Criminal: The voodoopunks hire Constance to steal the MCG
  • Refusal of the Call: Constance does this to Aunt Jackie in "The Bust"
  • The Revolution Will Not Be Civilized
  • Show Within a Show: It's all told as if it's a radio broadcast. Until it turns out the players are real and they "change the narrative"
  • Super Soldier: Freedom Corps will make you a new man! By replacing various bits and limbs with iron parts. John is apparently the only one who survived the process.
  • Dark and Troubled Past: All four main characters have had pretty rough lives.
  • Truth Serums: Putting it in the water supply under Parliament is what kicked off the revolution.
  • Unreliable Narrator: Lloyd Allen turns out to be this, but he starts out as an All-Knowing Singing Narrator
http://tvtropes.org/pmwiki/pmwiki.php/AudioPlay/TheNewAlbionRadioHour