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Jonathan Lee-Vroman Joins 5 Levels of Fear Audio Drama

Aural Stage StudiosAural Stage Studios is happy to welcome Jonathan Lee-Vroman to the 5 Levels of Fear audio drama lineup.

Jonathan joins Aural Stage Studios from Seattle Washington with credits from the stage, screen, and television. He is known for the short film The Tangly Wood (2016), the television series Grimm (2011) and a number of theatrical roles. Jonathan will be lending his considerable vocal talents to the production’s character JACK HOLLOWELL.

We also want to take this moment to say THANK YOU to the supportive people who have donated to our GoFundMe campaign. Your amazing generosity helps us pay talented people like Jonathan to do what they do best.


Anjelica McMillan Joins 5 Levels of Fear Audio Drama

5 Levels of Fear Audio Drama

Aural Stage Studios is happy to welcome Anjelica to the  5 Levels of Fear audio drama team!

Anjelica is portraying Jill Johansen in our upcoming audio drama production 5 Levels of Fear, written by Sable Jak.

Anjelica McMillan is so excited to join the cast of Five Levels of Fear. A native of Seattle, Anjelica was recently seen in Quickies 17 with LiveGirls! at Annex Theatre, and the staged reading of Don’t Call it a Riot at the Neptune Theater. Other credits include the video game State of Decay (Sam Hoffman) and the IFC show Portlandia. This fall, you can catch her in the thriller Neighborhood 3: Requisition of Doom at Theater Schmeater. Anjelica holds a BFA in Theater from Pacific Lutheran University.

And don’t forget, we’re still accepting donations on our GoFundMe campaign. Every dollar helps us compensate talented professionals, like Anjelica, so we can bring you a high-quality audio drama adventure.


Tadd Morgan Joins 5 Levels of Fear Audio Drama

Aural Stage Studios is excited to welcome Tadd to the 5 Levels of Fear team!

Tadd will be portraying Conner “Control” Johansen in our audio drama, 5 Levels of Fear written by Sable Jak.  As an Actor, Writer, Voice Actor, Musician, Dancer and Playwright hailing from Seattle, Washington, Tadd has performed on stage, screen and behind the microphone.



5 Levels of Fear Cast

We have a cast! Aural Stage Studios is very excited to finally be able to announce the 5 Levels of Fear cast.  Congratulations to the following talents: 
Jill – Anjelica McMillan
Jack – Jon Lee-Vroman
Connor – Tadd Morgan

More on the actors coming soon.


Meet the Dialog Editor for 5 Levels of Fear

Eli McIlveen Joins 5 Levels of Fear

Eli McIlveen Join 5 Levels of Fear

We are delighted to have Eli McIlveen on the 5 Levels of Fear team. Eli is the creative force behind the Forgery League podcast. He is also the creator, playwright, and director of the award-winning audio drama Alba Salix.

Eli has been recording strange noises since he first “borrowed” his dad’s cassette player as a kid. During his five-year stint at CKMS-FM (University of Waterloo), he was a producer, actor and occasional writer for the weekly comedy series Philler, and went on to host a weekly radio theatre showcase. Since then he’s been sound designer and operator for a raft of theatre productions in Toronto.

Eli is the line producer for Radio Drama Revival, a bi-weekly podcast showcasing the best in modern audio drama. He is also a dialogue editor for 11th Hour Audio Productions and has appeared in Jim Robbie and the Wanderers and Radiation World playing mostly invertebrates and nerds.


On Creating Audio: When Will Audio Drama Have Value?

Art Has Value

Whether I assume the role of a writer, director, producer, or sound designer my stance is and has always been the same in regard to audio drama and other expressions of the writing, visual and performing arts: Art has value.

And I don’t just mean the intrinsic kind.  Good art is worth compensating, whether that art is that of the writer, painstakingly crafting each word, each beat, each rhythm on the page.

Or that of the actor, not just reading the words, not just speaking the lines but imbuing a character with life and breath and action.
Or that of the director, who sees more possibilities in the scene than could have been imagined by the writer alone.
Or that of the sound designer who can not only use sound to punctuate the dramatic action but helps us to make that leap of faith into a suspension of disbelief by immersing us ourselves into the icy cold waters of our protagonist.
Or that of the Dialog Editor, who makes every actor sound exactly the way they would want to sound and better, by taking the best bits, even chopping mid-word to get just the right cadence, and just the right pace.
Or that of the composer, who takes motion and action and drives us emotionally, not through patching some random pieces of music together, but because it had to be this music and it had to be this place.
I could go on. Great productions include many many talented artists at all levels. Great productions are driven by talent. Great productions demand it.

If you value your productions, paying your talent should be your number one agenda.

Pay yourself, last.

 That comma is there for a reason.

Pay yourself. Absolutely, you need to find a way to pay yourself for what you do. But only after you’ve paid everyone else. Because this is your story and your pet project. Please remember that it is your pet project, not their’s. And that others deserve to be compensated for helping you to see your dream come to life.
If you are a producer and looking at everything you can do for free on the backs of others, you are already approaching art as if your art has more value than their’s. When I start a project, it is always with the intent of paying, and I believe all producers should have this intention. If you cannot pay them now and are trying to pay in “exposure” or “residuals” on a show you haven’t even got a budget for, you are starting off on the wrong foot.

Treat your talent like you owe them something. Because you do.

Also, stop trying to do everything yourself.  This is an extension of number one.  If you’re doing your job correctly, you only have time to do one or two things in the course of a production. Let the professionals handle the rest. I have had the pleasure of working with some of the top audio drama producers in the world. It’s a rare privilege that has afforded me the insight that if you want excellent results (and for the sake of your well-crafted writing and excellent ideas, I should hope you would want excellent results), it’s worth paying the best people you can afford to pay.

If you can’t pay them. Don’t make it. Yet.

Hell. Let it simmer. Let it stew. Good work improves with age. Give it a year, then edit it into something that is worthy of paying to make. Work with a few other people to raise money to make your own show. This is how I paid for 1918.
But as long as you devalue art and the artists who make it that can’t be a thing, because nobody wants to pay for talent so nobody wants to pay you so nobody every gets paid and suddenly you’ve ouroboros-ed yourself into your very own hegemony where no one ever gets paid, because no one ever has gotten paid.
By the way. Members of your cast aren’t the only talents in your corner. There are writers who can write it better. Directors who can direct it better. Designers who can design it better. A mixer that can open up your sound. Whatever your weakness is (which should be whatever your specialty isn’t), there’s someone out there that deserves to get paid, if only a little, to do it better than you can do it yourself. Your work depends on it. Your success as a storyteller depends on it.
The only thing not paying and not looking for the right crew does is hurt you in your own pursuits. 1) You’re concentrating on so many things you aren’t able to improve your chosen craft. 2) You’re telling everyone your work isn’t worth paying for since you weren’t willing to pay your talent and crew. 3) You are telling yourself that your art has no value because you’re not willing to pay someone to do what you cannot do to make it right.
A lot of times even paying an artist is meeting them halfway. Amy Bormet gives me way more for my money than I know she is worth. But we like working together. And we compromise on the price. And when I do get the production with the bigger budget and the more pay, Amy gets that, too. And so on until she’s bored or unavailable.

The Value of Paying

When you start paying for something, it has more value to you, yourself, as a producer. You start realizing that “good enough” isn’t a thing. That everything you do is an investment in something good, something awesome, something bigger than yourself.  And you find the work that you love and value so much has more value because pf the talent that has left their marks upon in  When you pay others that help you create your art -those insane geniuses who lend you their craft for a pittance –  you are telling yourself that your production has value and worth asking others to pay for the result.

Casting Call – 5 Levels of Fear

Audio Drama producer Aural Stage Studio (11th Hour Audio, Intensive Care, 1918) has teamed with Award winning Jim French Productions’ writer Sable Jak on a 5-episode audio micro-series, 5 Levels of Fear:

Abandoned and untouched for a century a mansion is breached by three urban explorers searching for its story, only to find a hidden floor, rows of beds with restraints, and walls that leak moving shadows. Run.

We are seeking three voice actors to play the lead roles of Jack, Conner and Jill:

JACK HOLLOWELL: Early 30’s. Sharp, quick, not a smart ass, but can dish it out. Tuned in to his surroundings. Braver than he thinks.

JILL JOHANSEN: Early 30’s. Adventurous, athletic, smart, not easy to scare. Conner’s older sister. She’s been an Urban Explorer before she knew what the term meant.

CONNER “CONTROL” JOHANSEN: Runs the ground crew from his wheelchair. He used to explore with Jill until a fall sidelined him. NOTE: Conner is always on filter as he is not with Jack and Jill but only monitoring them on a com.

Audition sides are located here:

To audition, please send your resume, headshot and audition to

All roles are non-union.  Pay is $320.

Actors must be available for in-studio recording will take place over two consecutive sessions in early to mid September at Jack Straw Studios in Seattle Washington. Date details are pending.


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