Are you gonna record live at these different localtions or is it all happening in the small room you talk abut ?
If it's gonna happen in your room, then the RE20
are still good cause you're gonna have to add all the reverb and ambience sounds anyway so you're better off with a dry vocal. The dynamics will give you smallest amount of bleed, good directionality and a close up-in your face sound.
Doing radio drama is different from "normal" radio in that you don't want
it to sound as if the actor is sitting in front of a microphone in a studio setting, you want it to sound real
. Very few people live their lives in front of a microphone in a damped room.
Eventhough much can be done with reverb, delay and filtering (Speakerphone rules), it's often both faster and sounds better when you record the actors in the setting the play puts them in.
For recording live actors on a set, the 416 is a good choice since it will give the actor the freedom to walk around and.. well.. act
and still give a relatively dry sound to which real roomtone can be added for effect.
If you're gonna record in a smaller room (your booth) then you might setup dynamics (RE20, SM7
and Sennheiser 421
are good for this) in a circular pattern for a close up vocal sound so that the actors all face each other. Also put a LDC in the middle set to omni.
That way you will get both a close-up and
a slightly more distant naturally ambient sound as well.
Mix those to the desired effect.
My 2 cents.