Why certain reads land and others fall flat was the focus of a recent RAB Radio Mercury Awards webinar, where Sound and Fury CEO Jill Kershaw and Head of Casting Tina Morasco joined RAB SVP of Marketing and Communications Leah Kamon to dig into how smarter casting, direction, and performance choices can transform radio spots.
The panel framed a central problem: radio relies on voice performance more than any other medium, yet casting is often treated as a box to check instead of a creative craft. Kershaw said chief creative officers repeatedly tell her that many junior creatives view voice casting as “a mysterious black box.” The goal of the session, she explained, was to pull back the curtain on why some reads work, how casting decisions are made, and what separates a good spot from a great one.
For local producers, the speakers argued, the first step is building a wider talent ecosystem. Beyond the usual suspects, they recommended reaching into theater programs, improv troupes, comedy clubs, modeling agencies, and even magic communities to find voices with strong performance instincts.
One of the biggest takeaways was the power of precise casting specs. Morasco noted that generic briefs like “mom, 30s, upbeat” inevitably generate generic reads. The real difference, she said, comes from sharp, specific direction that gives actors something to play. Vague specs create wallpaper; strong specs create performances.
To illustrate, the team unpacked their idea of “character DNA” for a role: environmental details, cultural context, backstory, emotional shifts, vocal texture, and even celebrity touchstones used as tonal references rather than impressions. They walked through a Tomcat mouse-bait spot built around a YouTube unboxing influencer. The actor who ultimately booked the job was the one who wove every element of the DNA into the read, improvising naturally and hitting the tonal reversals the script needed.
Direction in the booth was the other major pillar. Morasco warned that even excellent actors can shut down if the control room becomes chaotic, urging teams to designate one person as the voice of notes. She advised against heavy-handed line readings, which many actors hear as failure, and instead suggested “moment before” prompts or paraphrased emotional cues that unlock more authentic performances. Kershaw added that simple physical changes—standing differently, holding an object, shifting posture—can quickly change the energy of a read when verbal coaching stalls.
Looking ahead, Morasco said Sound and Fury clients “haven’t even touched AI” for broadcast work, and brands that experimented with synthetic voices in e-learning “saw engagement diminish so drastically” they reverted to human talent. Kershaw called AI “a great research tool,” but argued it still lacks the nuance required for true performance, especially in brand-driven advertising.