The Fourth Doctor Adventures - The Haunting of Malkin PlaceBookmark and Share

Tuesday, 30 May 2017 - Reviewed by Matt Tiley
The Haunting of Malkin Place (Credit: Big Finish)

Cast

Tom Baker (The Doctor), Lalla Ward (Romana), 
Simon Jones (Talbot), Denise Black (Mrs Mountford), 
Gunnar Cauthery(Maurice), Fiona Sheehan (Beatrice),
Rikki Lawton (Tom), Phil Mulryne (Jack). 
Written By: Phil Mulryne, directed By: Nicholas Briggs

We first come across the Doctor and Romana in the Doctor’s Baker Street address in 1922. Romana is reading an M R James novel and is questioning the Doctor about what makes a good ghost story, all the while being interrupted by unexplained bangs and bumps from the attic Spooky goings on that for once the Doctor refuses to investigate. To further enlighten themselves, they decide to hop on a train and visit the village where M R James lived. While on the train the pair befriend a spiritualist, Talbot (Simon Jones) , and his assistant Tom (Rikki Lawton), who are on the way to Malkin Place, where their presence has been requested by Beatrice (Fiona Sheehan) and her brother Maurice (Gunnar Cauthery), who claims that Malkin Place is VERY haunted. Of course, the Doctor can never resist a good ghost story, so he and Romana decide to tag along and help.

 

Doctor Who will of course normally do a ghost story very well, and this one has all of the hallmarks of a classic:

A daunting house in the middle of nowhere? Check. 

A vulnerable woman who (at the beginning) refuses to acknowledge the danger that she is in? Check.

Creepy séances? Check.

A mysterious neighbour with an ulterior motive? Check.

A great reveal of a scientific explanation by the Doctor? Check.

 

So why didn't I enjoy it as much as I felt that I should? I'm as surprised as anyone else, as I’ve been loving these Fourth Doctor audio dramas. I suppose there would have to be the odd one that I wouldn’t find up to scratch. I think with this, it was just the predictability of it all. You know that there is something amiss with Maurice, thanks to the opening scene. If this had been held back, and we just get the details of his nightmares, things could have been a little more intriguing. Plus no matter how spooky things get, you know that the Doctor will have a non-supernatural explanation for events – even if it is starting to sound like he might have doubts himself. I did chuckle though at the big reveal as to who was making the noises in the attic of Baker Street.

 

The sound design is great and reminded me of the recent Knock Knock television episode from its audio abilities. Tom Baker and Lalla Ward are as always very reliable, and the supporting cast is good. I just found the writing by Phil Mulryne a tad pedestrian. I hound the Haunting of Malkin Place to be average stuff I'm afraid.

 

The Haunting of Malkin Place is available now as a CD or a digital download from Big Finish.






Torchwood: The Dollhouse (Big Finish)Bookmark and Share

Monday, 22 May 2017 - Reviewed by Richard Brinck-Johnsen
The Dollhouse (Credit: Big Finish)

Cast: Laila Pyne (Marlow Sweet), Kelly-Anne Lyons (Charley Du Bujeau), Ajjaz Awad (Gabi Martinez), Stuart Milligan (Don Donohue), Eve Webster (Valerie Fox), David Menkin (Brad), 
Guy Adams (Mr Beamish)

Big Finish Productions - Released April 2017

“Once upon a time there were three very different little girls who came to the attention of the British Empire…

A secluded mansion in LA is the last outpost of the British Empire and the first line of defence against extra-terrestrial threat on the West Coast of the United States, Torchwood!”

 

Big Finish continue to expand the horizons of the Torchwood universe with their second release in this new run of adventures which for the first time features a cast of entirely new characters with no direct connection to the television series. Set in Los Angeles of the late 1970s, this story is an obvious homage to Charlie’s Angels, with the scene set by the deliberately cheesy opening narrated by Mr Beamish, played with a delightful British charm by Guy Adams.

 Laila Pyne, Kelly-Anne Lyons, and Ajjaz Awad are Marlow, Charley and Gabi, the three plucky agents recruited by the mysterious Mr Beamish, a Torchwood representative who takes the “Charlie” role as a disembodied voice issuing instructions presumably from the UK. This small cast story finds our heroines on the trail of some missing girls whose disappearances seem to be linked to alien activity. There is some fun to be had at the TV series’ expense with a knowing reference to “sex aliens” and fans of other genre shows will also be amused by a reference to El Chupacabra. Before long the investigation brings the girls into contact with slimy agent Don Donohue, played with the just the right amount of creepiness by Stuart Milligan. The small cast are also ably supported by Eve Webster as Valerie, who gets to be more than just the standard victim character andDavid Menkin as Brad.

Whilst there are plenty of standard tropes reminiscent of 1970s adventure series, Juno Dawson’s script also manages to pack in a few nice suprises and proves to be a worthy addition to the list of strong writers who have contributed to the Torchwood audios and it is pleasing to learn that she will be contributing an episode to the upcoming Aliens Among Us series set in the aftermath of Miracle Day.

Overall, this is well directed by Lisa Bowerman with some great 1970s style music from Blair Mowat which is blended well with familiar themes from previous releases. Given that this story ends with something of a watershed moment for its protagonists, it will be interesting to see if there are any plans for them to return or whether this will tie into the long-term storylines of the audio series. On the strength of this release, Torchwood Los Angeles has a lot of untapped potential.

 

The Dollhouse is available now from Big Finish and on general release from 30th June 2017






The Diary of River Song - Vol 2Bookmark and Share

Friday, 5 May 2017 - Reviewed by Damian Christie
Stars: Alex Kingston (River Song), Colin Baker (The Sixth Doctor), Sylvester McCoy (The Seventh Doctor), Anna Maxwell Martin (Maddie Bower), Gemma Saunders (Ellen Byrne), Justin Avoth (Robert Murphy), Salome Haertel (Rachel), Jessie Buckley (Sarah Dean), Ann Bell (Lisa Burrows), Robert Pugh (Emmett Burrows), Dan Starkey (Computer), Aaron Neil (Steven Godbold), Sara Powell (The PA), Sam Alexander (Todd the Pod), Barnaby Edwards (Autocorrect), Paul Keating (Isaac George), Robert Hands (Daniel Defoe), Alan Cox (Robert Harley)
Written by Guy Adams, John Dorney, James Goss, Matt Fitton
Directed by Ken Bentley
Produced by David Richardson
Big Finish Productions, 2016

“Some days I dreamed of having two of you to play with – but not you two! You really shouldn’t have met!”

River Song to the Sixth and Seventh Doctors

Volume 1 of The Diary of River Song in 2016 was a good, if not brilliant, start to River Song’s adventures on audio. As this writer remarked in his review of that boxset, Alex Kingston could certainly hold her own in a River-centric series and the stories, as diverse as they were in terms of style and settings, showed there was great potential for ongoing adventures with the Doctor’s archaeologist wife.

Whereas Vol 1 contained two very good episodes and two very ‘so-so’ instalments, The Diary of River Song Vol 2 has three very strong scripts and one ‘so-so’ tale. This is already a significant improvement, you might say, on the first volume. Only two of the contributors from the first box set write for Vol 2 – James Goss and Matt Fitton while Guy Adams and John Dorney take up the writing duties from Jenny T Colgan and Justin Richards. Like Vol 1 (and also the recent adventures of Big Finish’s other resident archaeologist Professor Bernice Summerfield), the four tales, while distinct from each other in storytelling styles, form part of an overarching, epic narrative of quite ‘earthshattering’ dimensions (spoilers!). In Vol 1, there was a pay-off for the listener in the final instalment, as River encountered an earlier incarnation of her husband – the Eighth Doctor. In Vol 2, however, BF pulls out all the stops and pits River not only against temporal paradoxes, temporal zombies, and a horde of quantum squids and their malevolent queen, but two even earlier incarnations of her husband. While the linked storyline of Vol 2 is stronger than the ‘Rulers of the Universe’ sub-plot in Vol 1, it is debatable whether the inclusion of multiple Doctors is a strength or a weakness.

The Unknown, by Guy Adams, opens the box set in dramatic style. The Saturnius, an experimental starship, is despatched from Earth to investigate the arrival of a mysterious planet on the edge of the solar system. River is, without any real explanation given in the narrative, amongst the tiny four-person crew to investigate the phenomenon.  In the bargain, a pint-sized stranger with a Scots accent is also apprehended and detained in the brig. He seems to know what is happening to the structural integrity of the ship as it nears the planet and although River doesn’t automatically recognise him, he seems oddly familiar …

The Unknown is almost a virtual retelling of the Doctor Who TV episode Journey to the Centre of the TARDIS, complete with its own variation of temporal zombies and the ‘get out of jail’ card at the conclusion (which is a pet hate of this writer!). However, the story’s strongest influences seem to be from Star Trek’s past incarnations – from the Federation-style starship to the captain’s Picard-like order for black coffee to the Irish-accented, testy chief engineer to the smug computer (voiced by BF regular Dan Starkey) to the staple temporal quandary that plagues the starship, and its inevitable reset at the conclusion (again a pet hate!), you’d be forgiven for thinking River and the Seventh Doctor (Sylvester McCoy) had stepped into a generic Star Trek episode. It’s difficult to know if Adams is homaging or lampooning Trek (possibly the latter more than the former), although there’s scarcely a red shirt in sight …

That’s not to say the serial itself isn’t entertaining in parts (there is some very clever dialogue) or that the performers don’t do first class jobs (especially as they all play characters suffering from amnesia induced by the starship’s temporal distortions). However, given this style of tale has been done in Doctor Who before (fortunately on TV just the once, but a couple of times now by Big Finish) – and indeed was often done to death in Trek – it comes across as clichéd, tedious and ordinary. This makes The Unknown (itself a feeble title) the weakest of the four episodes.

John Dorney’s Five Twenty-Nine is a very different change of pace from the temporal hi-jinks of The Unknown and of the subsequent tales, and the highlight of the set. Having established the identity of the planet that the Saturnius was investigating, River travels back to the source of the time/space fluctuations that have engulfed it. The ensuing story is very much, in Dorney’s own words, a ‘quiet apocalypse’ piece, bearing some resemblance to another fan favourite telefantasy program in Survivors.

It is also a reflective, personal story, as River meets an elderly couple and their android ‘daughter’ Rachel (played by Alex Kingston’s own daughter Salome Haertel). Dorney shows why he is one of the best contributors to the BF range – he knows how to write stories that, while a little slow-moving in pace, are intimate, moving, persuasive and emotional. His characters are also very three-dimensional and sympathetic; both Emmett and Lisa Burrows (Robert Pugh and Ann Bell respectively) are very salt of the earth characters, practical and unpretentious while Steven Goldbold (Aaron Neil) is full of the controlled bravado which doubles for intensity and anxiety deep under the skin. They are all bewildered by the ‘event’ that consumes their world but they, along with the synthetic Rachel, are prepared to meet their fates with dignity and courage rather than abject terror.

World Enough and Time is, by comparison to Five Twenty-Nine, high farce. Indeed, writer James Goss takes many cues from the late Douglas Adams (not terribly surprising given Goss has in recent years novelised two of Adams’s classic Doctor Who serials The Pirate Planet and City of Death). River ends up working as a temp for an intergalactic corporation called Golden Futures, which trades off the back of dreamers in suspended animation. It’s no real surprise that with a 'too good to be true' name like Golden Futures, the company is a front for something incredibly nasty and ghastly. However, not only does River stumble upon a grand plan to replace the Earth with an imperfect copy (a feat of pan-dimensional engineering that no doubt Adams’ Slartibartfast would be incredibly proud of!) but is startled to learn that the Sixth Doctor (Colin Baker) is the CEO of Golden Futures by default after he bought a 51 per cent stake in the company. The problem is River cannot decide if the Doctor has been duped – thanks to the monotonous office politics, staff bureaucracy and human resources nonsense that seems to have swamped his new executive role (office life is very well satirised in the serial) – or if he is indeed truly aware of what is going on and simply doesn’t care …

The Eye of the Storm concludes the set as River and the the Sixth and the Seventh Doctors all come together – working at cross-purposes to the other in 18th century London. Matt Fitton’s script also throws in alien monsters, novelist Daniel Dafoe (of Robinson Cruesoe and Moll Flanders fame), the infamous Newgate Prison, the UK’s Great Storm of November 1703 and two star-crossed lovers. Remarkably it all coalesces beautifully, with River playing a substantial role in the denouement which is intimate and tragic. Like Dorney, Fitton also has a talent for showing the impact that grand events can have on a small-scale – in this instance, that a modest, innocent romance can influence the future direction of an entire world.

The chemistry between Alex Kingston and Colin Baker in the final two instalments is wonderfully cheeky and mischievous, as the Sixth Doctor encounters a character that is intellectually his equal and just as brash and impulsive as he is. Anyone who still hasn’t got over the original kiss between the Doctor and his companion more than two decades ago in the 1996 TV movie will be equally bamboozled to learn that perhaps it didn’t all start with the Eighth Doctor’s Byronic demeanour after all. It may in fact have been the much maligned Sixth Doctor, with a little prompting from River, who started that ball rolling …

River’s flirtation with the even more unfashionable Seventh Doctor is also memorable in the closing moments of the final episode. Both Kingston and McCoy are flawless in their execution of a scene in which River seeks to outflank the crafty, manipulative Seventh Doctor. It is both amusing and compelling – as the two Time Lords flirtatiously engage in a battle of wills. “Oh, you frustrating, gorgeous little man!” River exclaims before knocking him unconscious with a Ming vase!

Although the two Doctors are generally kept separate for much of the duration of Eye of the Storm (and indeed for three-quarters of the box set as a whole), when they do come together, Colin Baker and Sylvester McCoy are excellent. Their witty and disrespectful repartee is highly reminiscent of Patrick Troughton and Jon Pertwee’s double act in The Three Doctors, and it’s clear Baker and McCoy inject a little bit of the faux rivalry they demonstrate at conventions into their Doctors’ characterisations (in the CD extras, McCoy even recalls how Baker continually teases that none of the actors that came after him are truly the Doctor because he never had a regeneration scene on TV!). “It’s always about the grand futile gestures with you, isn’t it?” the Seventh Doctor contemptuously shouts at the Sixth Doctor, disapproving of the latter’s compassion, selflessness and even heroism in dangerous situations, while the Sixth Doctor informs the “big bad” of the final instalment of the futility of feasting on his successor – “You don’t want to bother with him – rather stringy and very bitter, I imagine!”

As much as the interaction between River and the two Doctors is a highlight and strength of this box set, my biggest criticism is that it is also a weakness. With the exception of one story, River has to share the action with not just one, but two Doctors. While her husbands’ presence doesn’t diminish River’s feisty qualities and leadership characteristics or affect Alex Kingston’s magnificent performance, I really question the value of River having her own series when it seems nearly every second story will be gatecrashed in some fashion by one (or more) of the Doctor’s incarnations.

Instead, what we mostly get from this set is the usual style of storytelling faire that you’d expect from Big Finish’s regular Doctor Who releases or The Doom Coalition saga, in which River Song also appears. The Husbands of River Song strongly hinted that River was a con artist, rogue archaeologist and adventurer – a female Han Solo/Indiana Jones cross, if you will. Sadly, none of that characterisation is utilised in this box set, and therefore a fantastic opportunity to differentiate River’s solo adventures from the Doctor’s goes wasted.

The only real point of difference, in fact, that we have between River and the Doctor in this set is that (a) she is more prepared to use a weapon to kill, if necessary (much to the Seventh Doctor’s extreme disapproval), (b) that she can be ruthless in her management of antagonists, particularly if the Doctor’s life is at risk (as demonstrated in the climactic moments of World Enough and Time) and (c) she will act as the Doctor’s conscience in the event that he cannot (as occurs in The Eye of the Storm).

The Diary of River Song Vol 2 is, from a writing and production standpoint, a better box set than Vol 1. As usual, Big Finish’s sound quality and production values are excellent, and even with larger than life figures like Kingston, Baker and McCoy dominating proceedings, there are some excellent performances from the supporting actors such as the aforementioned Haertel, Bell and Pugh, Sara Powell as Golden Futures’ villainous personal assistant to the managing director (or MDPA), and Jessie Buckley and Paul Keating as star-crossed lovers Sarah and Isaac. Nevertheless, like Vol 1, there is great potential for ongoing adventures but it would be ideal if the next volume is more, dare I say it, 'adventurous' and leaves the Doctor out of the proceedings.

Now that Alex Kingston has worked with Paul McGann, Sylvester McCoy and Colin Baker, surely it must be tempting for the BF crew to try to extend that company to Tom Baker and Peter Davison. I would prefer that temptation is ignored and the third box is full of more refreshing, innovative and original ideas. Perhaps there’s even scope for the android Rachel to become a companion to River – based on Salome Haertel's encouraging performance. And even if the next couple of volumes insist on still drawing on Doctor Who’s rich history, there are plenty of other characters and concepts that could be explored without directly involving the Doctor. After all, what did River do to the Daleks at some point that had one begging her for mercy back in The Big Bang?






Jago & Litefoot - Volume 11Bookmark and Share

Thursday, 4 May 2017 - Reviewed by Damian Christie
Stars: Christopher Benjamin (Henry Gordon Jago), Trevor Baxter (Professor George Litefoot),  Lisa Bowerman (Ellie Higson), Conrad Asquith (Inspector Quick), Geoffrey Beevers (The Master), James Joyce (Henry Gordon Jago Jr), Rowena Cooper (Jean Bazemore), Andy McKeane (Maurice Ravel), Jonathan Forbes (Bram Stoker), Edward de Souza (Sir Henry Irving), Robbie Stevens (Mr Manners/Stanley Harker), Maggie Ollerenshaw (Dame Wilhelmina Gusset), Rachel Atkins (Madame Sosotris/Bishop), Colin Baker (The Doctor)
Written by Nigel Fairs, Matthew Sweet, Simon Barnard, Paul Morris and Justin Richards
Directed by Lisa Bowerman
Produced by David Richardson
Big Finish Productions, 2016

“Good Lord! Look at us, Professor – reflected in that puddle! We look positively ghastly – the both of us!”

“You’re right, Henry …”

Henry Gordon Jago and Prof George Litefoot

It’s amazing to think that 40 years ago last March, Doctor Who fans were introduced to the unlikely combination of Victorian showman Henry Gordon Jago and East London police pathologist Professor George Litefoot in the Tom Baker serial The Talons of Weng-Chiang. Although the two characters never formally returned in the TV series, they were so fondly remembered by fans that their popularity took on a life of its own. Indeed, it’s difficult to recall any other characters in the life of the classic and modern TV series that could have conceivably had spin-off adventures in the broader Whoniverse. Jago and Litefoot’s creator Robert Holmes created similar unconventional and roguish pairings in many of his Doctor Who serials (and even a few Blake’s 7 episodes), eg Spandrell and Engin in The Deadly Assassin, Garron and Unstoffe in The Ribos Operation, Glitz and Dibber in The Trial of a Time Lord – but none seem to have had the appeal of Jago and Litefoot.

Yet amazingly, since 2009, Big Finish has given the characters a whole new lease of life and a devoted fanbase, some of whom probably weren’t even alive at the time of the original broadcast of The Talons of Weng-Chiang. Jago & Litefoot started as a seemingly one-off and obscure Companion Chronicle called The Mahogany Murderers and within the space of eight years has spawned 13 boxsets plus a special release pairing the duo with Sontaran butler Strax (the Sontarans being another Holmes creation).

This review focuses on Volume 11. Whereas much of BF’s recent output has sought to integrate and celebrate the mythology of Doctor Who’s classic and modern incarnations, Volume 11 of Jago and Litefoot’s adventures has delved further back into Doctor Who’s past and pitted the two amateur detectives against the Doctor’s arch nemesis the Master, who in 2016 year celebrated his/her own milestone of 45 years. While there’s great potential in the idea of pitting the two amateur sleuths against one of the Doctor’s deadliest adversaries, the execution is not quite as satisfying as the inspiration.

Certainly, the box set artwork hints that the Master must play a quite dominant role across the four tales in the box set (not to mention shoehorning the Sixth Doctor into the overall saga as well).  Yet while the Master is indeed present in the four tales, he is not (as you might think) the “big bad” – that is, someone who manipulates events from behind the scenes while getting others to do his bidding. It is not until the concluding chapter – Masterpiece – that the evil Time Lord comes into his own. The Master, though, does share some terrific dialogue in the opening and closing scenes of the second play Maurice with that serial’s villain and is wonderfully wicked in its climactic moments.

The villains in the opener Jago & Son are of an earthlier disposition than the Master, although their divine purpose is indeed based in the extra-terrestrial. Nevertheless, their incompetence would easily disappoint the evil Time Lord! In all, Nigel Fairs’ opener is farce from start to finish as Jago (Christopher Benjamin) encounters a mysterious young man who claims to be Henry Gordon Jago Junior (even though Mr J swears until he’s blue in the face in his own profligate, baroque Victorian lingo that he doesn’t have any offspring). Meanwhile, Professor Litefoot (Trevor Baxter) has caught up with an old flame in archaeologist Professor Jean Bazemore (the wonderfully pompous Rowena Cooper). Prof Bazemore has returned to the British Isles after years away unearthing ancient Egyptian tombs to uncover something infinitely older in London’s catacombs. Jean’s strong anti-establishment character is the opposite of the reserved and chivalrous Litefoot yet they gel brilliantly, even if the former’s more masculine demeanour blindsides both Jago and Inspector Quick (Conrad Asquith). Indeed, there are a few LGBT jokes and references that go over the heads of the Victorian characters but will leave a smile on the faces of 21st century listeners!

As for whether the “son” of the title is indeed Jago’s, time will tell. Regardless, there is a wonderful chemistry between Benjamin’s flamboyant, yet reticent and quite unheroic Jago and James Joyce’s Junior whose dialogue just oozes youthful enthusiasm and a hero worship of his father that leaves Jago duly beaming and mortified! There’s even a “bereavement” scene between the two characters that’s touching and humorous! You get the strong impression from Fairs’ writing that the story is only half-concluded and that its premise will be revisited later. Certainly, little to no explanation is given for the abnormalities that the principal characters encounter beneath Professor Bazemore’s dig ...

The second instalment Maurice, written by Matthew Sweet, is a very different “beast” in tone and pace to Jago & Son. The story focuses on French composer, pianist and conductor Maurice Ravel (1875-1937), better known for his composition Boléro, but set some 30 years before that famous piece. Indeed, the musical work that the young Ravel (played by Andy McKeane) works on in this tale - Gaspard de la nuit, which was inspired by the book by French author Aloysius Bertrand, and which premiered in Paris in 1909 – plays a pivotal role in the story. Litefoot finds himself thrust into a macabre fantasy world in which many strange elements of Ravel’s composition seemingly come to life. McKeane impresses as Ravel and the villain, even though his hackneyed French accent can sometimes grate on the listener.

The other interesting aspect of the story is the role of the Doctor in this tale. Although the Time Lord is only mentioned in Maurice, his influence is felt nonetheless. You are reminded of just how much of an impact the Time Lord must have on Earth’s history, even when he’s not particularly interventionist – and how he seemingly attracts danger whenever he appears. Even the simple, unselfish and gracious act of leaving a gift for a friend in the wrong time period can have serious repercussions – both for that friend and other peers in his circle.

We meet two more historical figures in Simon Barnard and Paul Morris’s The Woman in White – the  19th century Shakespearean thespian Sir Henry Irving (played by one-time Doctor Who guest star Edward de Souza) and Irving’s theatre manager Bram Stoker (Jonathan Forbes), the future author of Dracula. Aside from borrowing elements very heavily from Stoker’s famous novel and what is known of the Irving/Stoker partnership, Barnard and Morris’s titular character is also clearly influenced by the 2011 Doctor Who episode The Curse of the Black Spot. De Souza is wonderfully over the top as the intolerant, bewildered Irving while Forbes brings the right level of naivety to the fresh-faced, inexperienced yet effusive Stoker. Special mention should also go to BF alumni Robbie Stevens who again displays versatility as the villainous Mr Manners (Stevens previously impressed as both a crusty British MP and a union shop steward in 2015’s We are the Daleks).

The final instalment Masterpiece brings the investigative duo and publican Ellie (Lisa Bowerman) face to face with the Master himself, played throughout this box set by stalwart Geoffrey Beevers. Beevers’ silky tones, dripping with delicious mischief and menace (butter certainly doesn’t melt in this Time Lord’s mouth!), reinforce why his version of the Master is ideally suited to audio. It’s just a pity that the so-called “masterpiece” of the story is quite underwhelming. Admittedly the Master is in a weakened state (it is very clear by the climax exactly when in the Master’s timeline Masterpiece occurs) but even he would agree that it’s a pretty unambitious plot by his standards. Perhaps the blame should be levelled not so much at the Master as the writer in Justin Richards. Richards seems to have a penchant for delivering “by the numbers” stories that are quite dull, slow-moving and relatively undramatic (his concluding piece for the last series of the Blake’s 7 audio adventures was equally uninspiring, as was his contribution to The Diary of River Song Vol 1). Masterpiece sadly falls into that criteria. Perhaps it’s because Richards is often busy with other projects beyond BF but if that’s the case, then it’s even more reason for him to take a step back and let someone with fresh ideas take on the writing duties.

The performances and production qualities of this Jago & Litefoot box set live up to the bar that Big Finish regularly sets itself. Hearing Benjamin and Baxter’s voices unaltered by the years almost takes you back to their one-off appearance in The Talons of Weng-Chiang a good 40 years ago! Lisa Bowerman also impresses as feisty publican Ellie, a character that has been involved in the revival of the Jago & Litefoot saga since The Mahogany Murderers. Ellie’s cockney East London accent is completely unrecognisable from the more refined, cultured tones of 26th century archaeologist Bernice Summerfield – if you don’t necessarily follow the careers of many of the names that regularly contribute to the BF stable, then you wouldn’t even realise they are both Lisa Bowerman. And to boot, Bowerman also directs this box set as well. Colin Baker’s appearance as the Sixth Doctor is small but as you’d expect of the great man, his performance as “ol’ Sixie” is near perfect and his presence in the boxset’s climactic showdown does not overshadow the true protagonists in Jago and Litefoot.

It’s difficult to compare Vol 11 of Jago & Litefoot to previous or subsequent volumes (this reviewer hasn’t listened to the other box sets) but overall, when compared to BF’s broader Doctor Who-related content, it is highly entertaining. Apart from Masterpiece, the various serials are creative, comedic and even theatrical – not unlike the theatre manager that makes this amateur detective pairing so loved by fans. Vol 11 is both a good introduction to the Jago & Litefoot series (if you’re only familiar with the characters from The Talons of Weng-Chiang) and a great stepping-on point if you haven’t heard any of the other box sets. With 13 lots of adventures under their belts, these wily old dogs aren’t showing any signs of slowing down!



Associated Products

Audio
Released 31 May 2016
48% off
Jago & Litefoot: Volume 11



Zaltys (Big Finish)Bookmark and Share

Monday, 24 April 2017 - Reviewed by Richard Brinck-Johnsen
Zaltys (Credit: Big Finish)
Written by Matthew J Elliott
Directed by Barnaby Edwards

Cast: Peter Davison (The Doctor), Matthew Waterhouse (Adric), Sarah Sutton (Nyssa), Janet Fielding (Tegan), Sean Barrett (Perrault),
Niamh Cusack (Clarimonde), Philip Franks (Gevaudan),
Rebecca Root (Sable), Alix Wilton Regan (Lusca/Siobhan), CarolSloman (Talia/Computer)

Big Finish Productions - Released March 2017

The first main range trilogy of 2017 concludes with another solid entry which once again allows all four members of the season 19 TARDIS crew to play to their strengths. Kudos due once again to director Barnaby Edwards, who once again has clearly done well to get the best possible performances from the lead characters and assembled yet another strong supporting cast. First up we have Niamh Cusack as Clarimonde, the main villain of the piece who convincingly portrays the role of old adversary (with a gentle nod the habit of the 1980s series to reference previously unseen adventures). Among a sea of great performances, honourable mentions also go to Philip Franks as Gevaudan and Carol Sloman, the daughter of The Green Death writer Roger Sloman, as Talia. Finally in what is possibly a first for Doctor Who, we have openly Trans actress Rebecca Root in the key role of the mercenary Sable, who is one of the most enjoyable characters in this play. Well done Big Finish for allowing such a significant step in LGBT representation.

Matthew J Elliott’s story of space vampirism and psychic attacks is another very strong evocation of the best of this era. There is also some clever retconning of Nyssa’s psychic abilities which have previously been alluded to in her solo adventures with the Doctor set during the gap between seasons 19 & 20. Overall, this is a strong conclusion to what has been an enjoyable trilogy of plays. Having very few ties to other plays or indeed each other, means these are all enjoyably accessible to fans of this TV era who may not have heard Big Finish’s extensive back catalogue. A massive credit is due to the original actors Peter Davison,Matthew Waterhouse, Janet Fielding and Sarah Sutton for proving that this TARDIS team still has an immense of storytelling potential. It is very much to be hoped that we will hear more from all four of them in the not too distant future. Although fans of the Fifth Doctor and Nyssa can rejoice in the knowledge that they can shortly be heard in the next release which sees the main range experiment with a new release format of two linked stories in Alien Heart/Dalek Soul.

 

Zaltys is available now from Big Finish and on general release from 30th April 2017.





Short Trips - Series 7.3 & 7.4 - The Jago & Litefoot Revival (Big Finish)Bookmark and Share

Thursday, 20 April 2017 - Reviewed by Matt Tiley
The Jago & Litefoot Revival - Act One (Credit: Big Finish)The Jago & Litefoot Revival - Act Two (Credit: Big Finish)

Producer Ian Atkins; Script Editor Ian Atkins

Executive Producers Jason Haigh-Ellery and Nicholas Briggs

Written By: Jonathan Barnes; Directed By: Lisa Bowerman

Cast

Trevor Baxter (Narrator), Christopher Benjamin (Narrator)

A two part Short Trip? Surely this is a Medium Meander then, but believe me - it's a joy to have these two parts as they are surely two of the best Short Trips to date.

 

Jonathan Barnes brings us an infectiously enjoyable tale of our two favourite Victorian gentlemen as they recount a recent adventure in a lecture to the Club For Curious Scientific Men. The tale follows them as they both fight the sinister Men of Dice, simultaneously, from two different countries. Professor George Litefoot (Trevor Baxter) finds himself being chased across a beach on the island of Minos by floating gunslingers. While back in London we find Henry Gordon Jago menaced by a terrifying, huge arachnid in the basement of his very own theatre. Both are helped in their fight by a certain enigmatic Time Lord that they are proud to call a friend, its just that the version of the Doctor that they encounter here has a very different face to what thy are used to.

 

I was lucky with this story. I had seen no promotional art, so fully expected it to be a tale in the same vein as most other Short Trips, a companion recounting an unseen tale which involves THEIR Doctor. The set up of these stories usually the same in that you would normally expect a narrated introduction to the story by the companion, followed by the Doctor Who theme tune of their Doctor. Being completely unspoiled, I listened to the opening narration from Baxter and Benjamin, there was a pause - and I waited for the fourth Doctor's theme. What I got instead was the tenth Doctor's theme in all of Murray Gold's loud strings and drums glory. I couldn't help but grin like a loon. 

 

The teaming of these two great characters with a modern Doctor is genius. There are one or two other surprises along the way that I refuse to spoil as their reveal is a pure joy to listen to, and discover as the story unfolds.

 

And unfold it does - the narration is very fast paced, switching from the straightforward storytelling of Litefoot to the bluster and pompous exaggeration of Jago. The story goes backwards and forward between the two characters, each time leaving a mini cliffhanger in it's wake, eventually bringing the pair together beautifully in the end where they must literally perform for their lives.

 

Trevor Baxter and Christopher Benjamin are simply exquisite. We need to bear in mind that these two have over 120 years of acting experience between them - and it shows in a very good way. Big Finish are lucky to have them, and we are equally as fortunate to be still listening to them.

 

The Jago & Litefoot Revival is essential listening to fans of the show, thank you Big Finish for allowing us to be able to listen to this brilliantly executed tale.

 

The Jago & Litefoot Revival Acts 1 & 2 are available to download separately from Big Finish now.