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

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Torchwood: The Doll House

Torchwood: Visiting Hours (Big Finish)Bookmark and Share

Wednesday, 19 April 2017 - Reviewed by Richard Brinck-Johnsen
Written by David Llewellyn
Directed by Scott Handcock

Kai Owen (Rhys), Nerys Hughes (Brenda Williams), Karl Theobald (Mr Tate), Ryan Sampson (Mr Nichols), Ruth Lloyd (Nurse Brown), Stephen Critchlow (Dr Fletcher)

Big Finish Productions - Released March 2017

Eighteen months since the first Torchwood audio was released by Big Finish, which started a continuous run of twelve monthly releases followed by three special releases which has seen this fledgling range go from strength to strength, the monthly series returns with the first of six new releases which promise to continue their successful expansion of the Torchwood universe.

Visiting Hours finds Rhys Williams (Kai Owen) visiting his mother Brenda in hospital where she is recovering from a routine hip operation. Brenda is once again played by the wonderful Nerys Hughes who previously appeared in the television episode Something Borrowed. There is a great chemistry between mother and son and when strange things start to occur, it is Rhys who is forced to take the lead without being able to ask for help from his wife Gwen. Both characters are a joy to listen to, especially when they find themselves in danger and Brenda starts swearing like a trooper!

The two main characters are ably supported by the small supporting cast including Stephen Critchlow as the mysterious Dr Fletcher, and Karl Theobald and Ryan Sampson as henchmen Tate and Nichols. The story reaches a sinister conclusion with the appearance of the robotic cleaners who reminded this reviewer of being scared by Paradise Towers. The almost too neat ending suggests that we may not have heard the last of Fletcher and his cronies.

Overall, this is an enjoyable start to the new series of adventures from veteran Torchwood writer David Llewellyn. On this form, the series looks set to continue as one of the most consistently strong ranges produced by Big Finish. Next month the series heads stateside as we meet an all new cast of characters in The Dollhouse.


Visiting Hours is available now from Big Finish and on general release from 31st May 2017.

Torchwood: Made You Look (Big Finish)Bookmark and Share

Thursday, 4 August 2016 - Reviewed by Thomas Buxton
Torchwood: Made You Look (Credit: Big Finish)
Written By: Guy Adams
Directed By: Scott Handcock
Cast: Eve Myles (Gwen Cooper), Matthew Gravelle (Darkness), Marilyn Le Conte (Mrs Rhodes),
Ross Ford (James)
Produced By: James Goss
Script Edited By: Steve Tribe

Released By Big Finish Productions – August 2016

Back on October 22nd, 2006, when Torchwood made its momentous televised debut via BBC Two’s airwaves, the show carried one hell of a tagline: “the twenty-first century is when everything changes”; indeed, some members of the fan-base would undoubtedly argue that “everything changed” for them on that precise date with the series’ arrival. For a second, though, it seemed as if February 13th, 2016 would prove just as pivotal a moment, if not infinitely more-so, as Eve Myles posted the following words on Twitter not long after recording her second Torchwood audio, MoreThanThis, for Big Finish:

“Thank you. Massive goodbye GC.”

Considering that the studio’s official licensed continuation of the ever-acclaimed Doctor Who spin-off programme had barely gotten underway, having produced just five one-hour dramas as of this February and with plenty of time still to go until its ownership of the licence terminated in 2025, the revelation that easily one of the show’s most dedicated stalwarts, the woman responsible for bringing the immortal Gwen Cooper to life on screen, seemingly wouldn’t be returning for more recordings predictably sent shockwaves through the fan-base at the time.

Thankfully everything didn’t change in this instance, since the cunning minds at Big Finish evidently convinced Ms. Myles to rethink her future with the range, prompting her to sign on for not only this month’s Season Two finale, Made You Look, but additionally a fully-fledged ensemble box-set, Torchwood: Outbreak, due to unite her with John Barrowman and Gareth David-Lloyd for a pre-Children of Earth mission this November. Unfortunately, however, the former of these two new entries doesn’t exactly justify her decision to reprise the role for more outings, instead offering up a predictable one-off horror storyline which suffers from an overwhelming lack of both compelling secondary performances and, worse still, any real sense of the fear factor writer Guy Adams clearly wanted to evoke.

In fairness, the first few minutes of this flawed standalone chapter do a fine job of convincing regular listeners that all’s well here, with Adams crafting an atmospheric, horror-esque opening as Gwen arrives at the near-deserted seaside town of Talmouth to investigate the mass disappearances of its residents, only to find herself subsequently stalked by a seemingly omnipresent extra-terrestrial creature which can turn our most basic sense of sight against her, slaying her where she stands if she takes but three looks at its visage. It’s a quintessential Torchwood premise to be sure, one which wouldn’t have felt at all out of place had it formed the set-up for an episode of the original TV show either on BBC One or BBC Two.

Yet had Made You Look been transmitted on the small screen, its critics would almost certainly have called it out for coming up severely lacking from a structural perspective, with the whole narrative simply centring on Gwen’s encounters with town’s two survivors and above all the so-called ‘Darkness’ tracking her every step. In theory, there would be nothing wrong with such a basic approach if Adams made this race for Gwen’s life a thrilling, oft-terrifying rollercoaster ride packed with cinematic chills to send shivers up the spine, but herein lies the real problem, since barring a somewhat Hitchcockian seagull attack and one or two haunting hallucinatory sequences, virtually none of the chase set-pieces contained within the hour manage to ramp up the fear factor in the slightest, instead deploying clichéd tropes of the genre such as ghostly mists, mysteriously re-animated fairground rides and the like as if we’ve never seen them before on screen or heard them re-enacted in audio form. If anything, rather than having trouble getting to sleep after hearing the final track, listeners will be in danger of dropping off before the third act even kicks off as a result of the astounding lack of narrative innovation here, with the only truly effective moment coming in the form of a pleasingly ambiguous epilogue that for once leaves our heroine’s fate– and that of the oft-forgotten Committee, absence for the third time running here – wholly up in the air.

This almost complete absence of the injection of any real tension on Adams’ part isn’t helped at all by the similarly lacklustre performances given this time around by Myles’ esteemed co-stars. Ross Ford charms somewhat as the paranoid but innocently endearing homeless youngster James, yet not so much that he can make anywhere near a noteworthy impact in his minimal airtime, while Marilyn Le Conte renders her blind hotel manager Mrs Rhodes as every bit as comedic and quirky as the script aims for her to be, only to fail to tug at the heartstrings in her fleeting moments of peril and thus limit our sympathy towards her character. Most notable of all, though, is Matthew Gravelle’s brave but ultimately flat turn as the Darkness – the Broadchurch thespian attempts to channel the understated, sinister malice of recent TV villains like Toby Jones’ Dream Lord in Amy’s Choice or Lars Mikkelsen’s Charles Augustus Mangnussen in Sherlock Season Three, yet ends up robbing the piece’s antagonist of any genuine sense of threat in the process. Whilst there’s certainly something to be said for trying to avoid a farcical, pantomime-style turn as Gwen’s latest foil - especially when the manner in which the Darkness approaches pursuing its prey feeds into a topical message on Adams’ part regarding how the world’s bullies manipulate their victims despite having no real power of their own - given how wanting Made You Look’s supposedly unsettling narrative is for fully-fledged scares, that Gravelle opts to restrain himself in terms of showcasing the potentially terrifying extents of the sinister omnipresence of his character’s voice across Talmouth represents a sizable missed opportunity more than anything else.

As with virtually all of Big Finish’s output, however, Made You Look isn’t completely devoid of genuine merits by any means. Fans of Eve Myles who cried out in sorrow at her aforementioned short-lived departure from the range can at least use her third solo Torchwood audio as evidence of the actress’ talents – not least as she outclasses everyone else in the play by reprising the character’s confident swagger, effortless leadership capabilities and underlying personal vulnerability within moments of her first appearance – and anyone with an ear for accomplished sound design or any devotees of the overall horror genre should well appreciate Scott Handcock’s effective use of seaside sound effects like fairground melodies and arcade game blips to enable the audience to better visualise Adams’ – admittedly uninspired – setting for themselves.

There’s no denying that the range’s lead performances and technical elements have remained top notch throughout its first two runs, in fact, but twelve releases in, there’s no denying how much of a shame it is to see certain members of the revived Torchwood franchise’s writing team struggling to produce narratives which are anywhere near as philosophically rich, atmospheric or generally engaging as the likes of TheConspiracy, UncannyValley, Zone10 or particularly last month’s phenomenal Jack-Ianto team-up Broken. That those four tales were such instant, undisputable hits with fans that put their protagonists to such great use does Made You Look no favours whatsoever, since rather than following suit, Adams has simply endowed Myles and company with a generically clichéd, philosophically shallow and completely arc-light script that, like February’s More Than This before it, rounds off a season’s worth of fine drama in disappointingly low-key fashion. Season Two’s much-anticipated denouement could otherwise have been the moment that everything changed for the range, with Eve Myles’ return representing a triumphant statement of the franchise’s longevity, yet in reality, Outbreak and the show’s well-earned – albeit still to be announced – third season of Big Finish audios will have to aim far higher in order to guarantee that the brand keeps thriving rather than putting the studio’s acquisition of the show’s licence at risk.

Torchwood #1 (Titan Comics)Bookmark and Share

Wednesday, 3 August 2016 - Reviewed by Thomas Buxton
Torchwood #1 - Cover A: Tommy Lee Edwards (Credit: Titan)
Script: John Barrowman & Carole Barrowman
Art: Antonio Fusio & Pasquale Qualano
Colours: Marco Kusko
Letterer: Richard Starkings & Comicraft's Jimmy Betancourt
Senior Editor: Andrew James
Assistant Editors: Jessica Burton & Amoona Saohin
Designers: Andrew Leung & Rob Farmer
Released by Titan Comics - August 3rd, 2016 

Few could ever accuse Titan Comics of lacking in ambition when it comes to their range of licensed comics set in the Doctor Who universe, especially since until now, that range had comprised of no less than four regular comic strips – featuring the Ninth, Tenth, Eleventh and Twelfth Doctors on a monthly basis – as well as three mini-series bringing classic Doctors such as Tom Baker and Paul McGann’s into the fray. Yet on the basis of its astoundingly dense, plot thread-laden opening issue, the publishing house’s launch of a strip continuing the escapades of Captain Jack Harkness, Gwen Cooper and the rest of the Torchwood gang already looks set to represent perhaps their boldest venture yet, one which will surely pay immense dividends in the near future so long as everyone involved keeps their eye on the ball.

Thankfully, the odds of this latest regular series’ writing team losing their way are utterly astronomical, not least as Titan have oh-so-wisely drafted in both Captain Jack Harkness himself, John Barrowman, as well as his sister Carole to take the permanent helm of what they’re bravely branding as the spiritual Season Five of the original TV show. As anyone who read the pair’s 2012 post-Miracle Day novel Exodus Code will know – and speaking of which, those who haven’t could do worse than to pick up a copy, since Issue 1 takes place after the events of that particular storyline and incorporates a few secondary characters from the text too – the siblings Barrowman have a fine handle on what made Torchwood tick on-screen. Whether it’s the endearing dynamics formed between the central team members, the world-threatening but morally ambiguous conflicts thrown at them every week or the underlying efforts by the likes of Chris Chibnall to develop plot arcs beneath the show’s usual procedural narratives, the pair show a promising dedication to keeping such elements alive here, thereby validating the strip’s status as a fully-fledged continuation from the outset.

At the same time, though, as they depict Jack, Gwen and Exodus Code’s Ice Maiden frigate crew beginning to realize that the Earth’s once again about to come under threat from antagonists both extra-terrestrial and worryingly closer to home, the helms can sometimes let their imaginations run almost too wild, to the extent that they end up juggling so many plot elements – including an elderly man spending the final days of his life in a familiarly-named Scottish house, the Iron Maiden’s membership tackling adversarial tentacle-clad creatures in the Otega system and Gwen’s beachside picnic with Rhys getting interrupted by one of the most bizarre invasion fleets in Torchwood’s history – that few readers could be blamed for losing track of what’s occurring from time to time. It’s by no means a crippling issue, particularly as Exodus Code more than confirmed the pair’s capability with regards to allowing seemingly disparate threads of their storyline to coalesce by the time of their narrative’s denouement, yet John and Carole could do worse than to follow a few less plot strands at one time as they begin drafting future issues and story arcs.

That issue of overcrowding extends somewhat to their characterisation as well, with the well-staffed crew of the Iron Maiden – as well as the aforementioned residents of Torchwood House – beefing up the show’s classic ensemble in the absence of the late Owen, Toshiko or Ianto, but at the same time consequently giving off the impression that they’re competing with the series’ returning favourites for ‘screen time’, a crease the writing team must iron out if they’re to develop these Exodus Code returnees in particular as the series progresses. With all of that being said, no-one could possibly accuse John or Carole as struggling to resurrect beloved protagonists like Jack, Gwen and Rhys in printed form – again, as demonstrated in their earlier novelised work, they know better than anyone how vital the rapport of this long-suffering trio of underrated heroes was to the TV drama’s original success, even during the divisive 10-week spanning Miracle Day, as well as how each of them functions, with Jack displaying all of the swashbuckling swagger that John did on-screen, Gwen still capable of standing up to the very fiercest opportunities in an identical vein to the manner in which Eve Myles portrayed her and Kai Owen’s Rhys still as lovably hapless – yet unquestionably loyal – as ever. Indeed, a long running theme of this reviewer’s critiques of Titan’s Doctor Who-centric output has been the strength of the individual writing team’s depiction of each series’ central protagonists, and suffice to say that this USP hasn’t been diminished by the Barrowmans in the slightest in this instance.

Yet if John and Carole take an admirably dedicated approach to portraying the former’s team of undercover agents as authentically as possible here, then the series’ resident artists – Antonio Fusio and Pasquale Qualano as well as resident colourist Marco Lusko – opt for a far more stylised range of accompanying images, preferring to revel in the sheer fantastical lunacy of their scribes’ globe-trotting, alien-encountering set-pieces while rendering many of the locales visited here in bright, bombastic hues that offer up a clear sense of the strip channelling much of the uplifting hope – even in the face of darkest odds – and awe-inspiring wonder at the unknown that made the TV show itself such a joy to watch in the latter stages of the noughties, in spite of all of its minor quirks. Anyone who’s familiar with the similarly eclectic artwork found in Titan’s regular Tenth Doctor comics should have a fair idea of what’s coming their way here, and whilst that far from photorealistic style of drawing won’t necessarily be to everyone’s taste, for the most part it works wonders in terms of bolstering this narratively accomplished freshman instalment.

In fact, aside from the rather off-key note on which Issue 1 leaves its narrative – expect a bonkers cliffhanger to be sure, but not one which succeeds in leaving the audience desperate to learn what happens next in three weeks’ time – only one real point of contention comes to mind here, and in fairness, the sticking point in question has mainly come about due to the marketing campaign more than anything else. When they first announced their Torchwood series, Titan claimed that John and Carole’s storylines would reside in the same continuity as Big Finish’s currently booming wave of audios exploring the titular organization’s past, present and future. Yet considering that the aforementioned series of radio dramas has already revealed the events succeeding Miracle Day to involve the remaining Torchwood members’ hunt for the sinister Committee, the decision here to make no mention whatsoever of either these ambiguous antagonists or to establish when the events of Exodus Code – so far unreferenced by Big Finish – took place in relation to audio dramas like Forgotten Lives or Made You Look – can’t help but seem downright baffling. Most readers won’t give a damn about such trivial matters, of course, but anyone like this reviewer who’s followed both of Torchwood’s recent audio seasons and looked forward to seeing the Committee arc continued – or at least get a mention – while we wait for news on Big Finish’s Season Three might well leave Issue 1 slightly underwhelmed.

That’s but a minor, somewhat nit-picky gripe, though, and one which doesn’t detract from the otherwise well-rounded success of Torchwood Issue 1 in bringing back a hit TV spin-off show’s storylines, its charismatic ensemble of lead characters, its quirky humour and its inspired aesthetic elements in full force. Purist fans who’ve followed every non-televised plotline featuring Cardiff’s most intrepid band of detectives might have wanted John and Carole to at least pay their respects rather than outright ignoring what’s come before in printed and audio form, yet it’s near impossible to pay such insignificant grievances much real heed when the fruits of the pair and their art team’s labours taste so gosh darned delicious so far. John may well be in the process of negotiating the show’s on-screen resurrection with the BBC, but even if those discussions don’t pan out favourably, judging by Big Finish’s stellar recent output and this memorable first issue from Titan, the brand will only continue to thrive regardless for the remainder of its triumphant tenth anniversary year.

Torchwood: Broken (Big Finish)Bookmark and Share

Friday, 8 July 2016 - Reviewed by Thomas Buxton
Broken (Credit: Big Finish / Lee Binding)
Written by Joseph Lidster
Directed by Scott Handcock
Starring: John Barrowman (Captain Jack Harkness), Gareth David-Lloyd (Ianto Jones), Melanie Walters (Mandy Aibiston), Eiry Thomas (Glenda), Ross Ford (The Saviour)
Released by Big Finish Productions - July 2016

They say that all good things must come to an end, and nowhere will that oft-used idiom seem more apt in a month’s time than in the case of Big Finish’s monthly Torchwood range. In the space of just twelve months, producer James Goss and his merry band of audio playwrights have expanded the mythology of the eponymous TV series further than fans could possibly have imagined when this continuation was first envisioned. Together, they’ve introduced enigmatic foes like the Committee, unforgettable supporting characters like telesales operator Zeynep and the reclusive billionaire Neil Redmond, but most of all a plethora of exhilarating new storylines for classic Torchwood Three recruits like Captain Jack, Gwen and Ianto, all while convincing the actors who played them first time around to return for at least one instalment of their year-spanning pair of seasons.

All of those seismic achievements are of course reason enough to bemoan the range’s impending temporary conclusion with August’s Season Two finale, Made You Look, but if one hoped to find a primary means by which to justify imploring Big Finish to commission a third season as soon as possible, then they’ve certainly gotten it with this month’s long-awaited release. Dubbed Torchwood: Broken for reasons that become well apparent as its core plot progresses, the odds of this fifth and penultimate chapter in Season Two matching some of the range’s finest moments – TheConspiracy, UncannyValley as well as the more recent Zone10 foremost among them – seemed slim at best prior to its launch, making its triumphant success in this regard that much more of a remarkable feat on the parts of just about everyone involved.

As with any of the studio’s most critically acclaimed titles, Broken’s status as a captivating, award-worthy work of audio drama comes about thanks to a number of contributory factors, but no more so than thanks to the returns of both John Barrowman and Gareth David-Lloyd – for the first time since October 2015’s Fall to Earth in the latter’s case, no less – to the roles of their somehow ever-increasingly beloved pair of doomed romantics, Jack and Ianto. Not since Friends united Joey and Rachel has a fandom arguably rallied behind a couple as ardently as this immortal swashbuckler and his endearingly faithful butler; nor since James Cameron’s Titanic have viewers shed wetter tears at a relationship’s denouement as we all did in the penultimate chapter of 2007’s Children of Earth. As opposed to giving complacent performances due to assuming that fans would pick Broken up anyway, both esteemed thespians instantly remind listeners why they proved such a dual hit on-screen, with Barrowman perfectly balancing his consistently engaging swagger with a more reserved, empathetic portrayal as and when the script requires it, while David-Lloyd tugs at the heartstrings at every opportunity by rendering his lines with such pathos, such dramatic gravitas that even this reviewer found keeping his eyelids wholly dry a challenge at times.

Of course, without the right narrative material to work with, both players might have been forced to go through the motions, so thank goodness for Joseph Lidster, whose masterful script helps elevate his leads’ turns to unprecedented levels with a level of unmistakable ease that most playwrights would envy immensely. To divulge too much of the precise narrative that the man behind televised episodes like A Day in the Death has concocted here would be to spoil the fun, but suffice to say that in setting Broken just days after the events of the divisive but undoubtedly emotional Season One episode Cyberwoman, wherein Ianto’s original crush, Lisa, became a pseudo-Cyberman before finding herself gunned down by the rest of her boyfriend’s team, Lidster ensures that he’s got plenty of meaty dramatic material to dive headfirst into, exploring in depth the nature of psychological trauma involved with grieving a loved one’s demise, the inevitable self-reflection such a loss can provoke for the widow with regards to their own life choices, as well as how one’s perception of those who seemed to be their ‘allies’ prior to such heartbreaking events can change forevermore as a result. In the wrong hands, the integration of such topical issues – especially in an age where terrorist attacks are tragically taking so many real-world individuals’ loved ones on a daily basis – could have felt contrived or borderline disrespectful, particularly if they’d largely played second fiddle to a by-the-numbers sci-fi tale, yet this month’s scribe evidently knew better than to take that approach, instead only peppering in genre elements when absolutely necessary so as to allow this deeply satisfying investigation into Ianto’s psyche – not to mention the birth of his romantic attachment to the future Face of Boe – to take centre stage throughout.

Whilst Torchwood’s primary genre doesn’t substantially manifest itself here, though, those who followed the original TV programme more for its fantastical action and otherworldly antagonists plucked from the previously untapped regions of the Doctor Who universe will surely find enough to sink their teeth into thanks to the fleeting but memorable contribution of Ross Ford as the disconcertingly benevolent extra-terrestrial known as ‘the Saviour’ and, more importantly, Melanie Walters as Ianto’s resident barmaid, Mandy Aibiston. Again, how these two connect to the show’s wider universe is best left unsaid until more of you have had a chance to give this one a listen, although it’s not a spoiler in the slightest to say that with more airtime than Barrowman as well as just as much stage presence, Walters well and truly makes her mark on the audience over the course of the hour. Not only does she endow her character with just as much of a sympathetic, compassionate voice as is befitting of the woman who finds herself nursing – albeit via alcohol – Ianto out of his grief, but she equally making the infrequent heated exchanges between Mandy and Jack seem just as believable owing to the protective stance her construct takes over her latest regular.

The credits don’t stop there, either – in fact, between Scott Handcock’s exemplary direction of what must have been a rather daunting non-linear play to tackle, the inspired usage of Murray Gold’s “Captain Jack’s Theme” and “The Ballad of Ianto Jones” to aurally rouse the listener and break their heart respectively, and the narrative’s success where its predecessors failed in providing a compelling enough standalone yarn to compensate for the lack of mentions of the Committee, it’s difficult to know precisely where to draw the line with all of the warranted gushing in this instance. For fear of spending as long as Jack’s lifetime singing Broken’s praises, then, let’s end on this – here we have the most satisfying entry in the Torchwood range to date, a true masterpiece that combines nuanced performances with Oscar-worthy scripting to remind the world over what made Torchwood such a riotous success on TV and why it couldn’t have been in safer hands than those of Big Finish. All good things must come to an end, but on the basis of Season Two’s spectacular second-from-last entry, its masterminds would be utter fools to let August’s Made You Look or November’s team-up boxset Outbreak signal the dying days of their latest range; if anything, the story’s only just begun.

Torchwood: Moving Target (Big Finish)Bookmark and Share

Tuesday, 7 June 2016 - Reviewed by Thomas Buxton
Moving Target (Credit: Big Finish / Lee Binding)
Written by Guy Adams
Directed by Scott Handcock
Starring: Indira Varma (Suzie Costello), Naomi McDonald (Alex), Nicholas Burns (The Referee)
Released by Big Finish Productions - June 2016

“The twenty-first century is when everything changes…and I should have been ready.”

Well, that’s one way to start a new instalment of Torchwood ten years on from the series’ debut, we suppose.

If nothing else, nine releases into their take on the four season-spanning Doctor Who spin-off show, it’s to the credit of James Goss and the rest of his writing team’s creative vision that they’re still able to offer up neat little surprises such as this on regular occasions, especially given the constraints placed upon them by having to limit the cast of each tale produced so far to but a handful of players at most. Take also the return of Indira Varma to the role of Suzie Costello; like Tracy Ann-Oberman’s feisty Yvonne Hartman before her, Varma’s complacent Torchwood Three agent met her on-screen demise – or rather whose first demise – almost just as speedily as the show’s itself. Yet far from giving Suzie equally minimal attention, the minds of Big Finish have instead opted to structure an entire one-hour drama around her pre-deathly days - this time going by the name MovingTarget - a development which it’s safe to say most fans of the original programme wouldn’t have easily predicted at first.

With that being said, however, much as the prospect of delving deeper into a morally ambiguous secret agent’s psyche than the show ever did in Everything Changes may have sounded like a sure-fire route to success for Big Finish, the piece’s surprises come to a halt almost as soon as the show’s iconic theme tune signals the end of its first track. That the core narrative driving Suzie’s actions forward feels so predictable from the outset doesn’t help its case; Varma’s still reckless, still trigger-happy character finds herself tasked with resolving a situation not unlike that posed in the 2007 Who serial Smith and Jones or 2010’s The Sarah Jane Adventures two-parter The Empty Planet as virtually all of the Earth’s inhabitants are frozen by extra-terrestrials, prompting her to join forces with the only other human being able to move a muscle as a band of other-worldy hunters recruited by the Committee give chase across Cardiff. Given the rather overly familiar nature of the premise as well as the fandom’s complete awareness of Suzie’s dark side, the hope would surely have been that writer Guy Adams could have subverted our perceptions of both the story format and Ms. Costello herself, but barring a rather charming interlude involving a bottle of vodka during the third act, Adams sticks to purely safe territory here, structuring most of the plot around a repetitive, overextended chase sequence before wrapping up in a manner which just about any long-term fan of the show’s televised incarnation will see coming from a mile off.

There are those academics who would argue, of course, that no one work of fiction can ever boast a truly original storyline, with the vast majority of tales conforming to one of seven predefined formats or genres such as the tragedy or the epic, but even so, we’ve already seen this range of audio dramas in particular regularly venture into unexpected territory, what with its dabbling with sexually provocative, existentially challenged androids in January’s UncannyValley as well as Queen Victoria’s final days in TheVictorianAge. The transition back into the more pedestrian, less shocking realms of storytelling here seems that much more jarring, then, as does the equal lack of effort invested in developing Suzie’s partner-in-crime of sorts, Alex, beyond the realms of ordinary expectation: as with the overall narrative, the trajectory of Naomi McDonald’s wayward citizen seems all but certain from the moment her role in the aforementioned hunt becomes explicitly clear, giving the listener a disappointing sense of inevitability in terms of how events play out, especially when compared to the unpredictable nature of recent Torchwood releases like February’s Zone10 or recent Big Finish box-sets such as their War Doctor compilations.

Yet one element which doesn’t betray this fourth outing of Season Two’s quality is the casting: despite the brevity of her on-screen appearances, Varma makes quite the impact as Suzie once more, bringing to the surface shades of sincerity, regret and a genuine hope of redemption that barely had chance to manifest themselves on the small screen. Arguably to a greater extent than was the case with Tom Price’s performance last month, there’s an inherent subtlety about the way in which the actress portrays this evidently morally apathetic, unashamedly selfish yet somehow almost tragic antihero as she attempts to cling to the path of righteousness, only for the more cold-hearted aspects of her personality – aspects which, it’s implied, might even be the result of a troubled upbringing – to re-emerge as the situation facing her and Alex takes a turn for the very worst. Her co-stars McDonald and Nicholas Burns – who plays an irksome android tasked with monitoring the last sentient humans’ progress – don’t suffer in the slightest from not having appeared in the TV series prior to now, though: if anything, they deserve just as much commendation for injecting their constructs with such sympathy-inducing innocence and charming malice respectively, with Alex in particular coming off as a refreshingly emotionally layered mother-to-be thanks in no small part to McDonald’s performance more-so than Adams’ somewhat clichéd characterisation and structuring of her arc. It’s often difficult to fully acknowledge the contribution of director Scott Handcock to the range’s strengths, but suffice to say that he and his players worked in fine unison this time around, producing a set of performances which just about warrant a listen from series devotees.

Beyond that more dedicated section of Torchwood fandom, though, it’s unlikely that Moving Target will come off as a true masterpiece to most casual listeners. Sure, it’s a more compelling listen than last October’s Oberman-starring OneRule, yet that both scripts were penned by Adams and both have ranked as the range’s weakest outings to date on account of their uninspiring chase-driven storylines, shallow characterisation of their supporting constructs and overall lacklustre quality could suggest that Goss and Adams might need to have words regarding how best the latter scribe might go about drafting his next contribution to the range. Neither of his two scripts have resulted in absolute travesties, admittedly, rather a couple of merely passable storylines which would interest rather than captivate most listeners and wherein a great deal of potential felt unfulfilled. That the three-strong cast’s turns here serve to render the tale at hand as an infinitely more engaging fiction than it might have been with a less accomplished ensemble is at least its saving grace, but even so, Adams can’t rely on this to always be the case; indeed, his scripts may well need to ramp up their ambition in order to come anywhere close to matching the range’s best efforts to date. In the meantime, this reviewer will retire to his local pub in the hope of meeting a dashing American and an endearingly shy butler who can work together to lift his spirits – and speaking of which, look who’s just around the corner…