Written by Steve Lyons, Simon Clark,
Mark Wright and David Bryher
Directed by John Ainsworth and Nigel Fairs
Big Finish Productions, 2017
Stars: Paul Darrow (Kerr Avon),
Michael Keating (Vila), Jan Chappell (Cally),
Steven Pacey (Tarrant), Jacqueline Pearce (Servalan),
Yasmin Bannerman (Dayna), Alistair Lock (Zen/Orac),
Clare Vousden (Winterhaven), John Green (Mordekain),
Hugh Fraser (The President), Rebecca Grant (Gwen Parker), Walles Hamonde (Gunner Kalvert), Roger Parrott (Mavlek),
Becky Wright (Goddess/Distributor/Curator), Abi Harris (Alta-Six), David Warner (Tavac), Donovan Christian-Carey (Herrick), Rebecca Crankshaw (Zeera), Daniel Collard (Jallen)

“We have to tell the others! We need to be ready!”

“Ready for what?”

“Servalan will do anything to cling onto her throne. We need to be ready for war!”

Cally and Dayna, B7 - Crossfire: Fearless

Following the successful relaunch of Blake’s 7 on audio, with the excellent Spoils of War boxset, Big Finish wasted little time in late 2017 following it up with the first volume of Crossfire, part of a “season” of 12 new adventures across three boxsets. Unlike Spoils of War, which was an anthology of four tales loosely set throughout the third season of the original TV series, Crossfire is intended to fill the “gap” between that season’s penultimate episode Death-Watch and the climax Terminal. And if you think that that “gap” isn’t ripe for exploitation, well, as Avon (Paul Darrow) himself might say, “Oh, you’ll have to do better than that …”
Crossfire reveals that there is in fact quite a lot of fertile ground that can be covered, drawing not only on the rich content of the original TV series, but also from Big Finish’s own B7 output. The opening episode Paradise Lost sets the theme – and a very high bar – for this lot of tales and subsequent boxsets as an old adversary of the Liberator crew (played again with charisma and panache by Hugh Fraser) triumphantly returns. Newcomers to the B7 range of full cast audio adventures are recommended to listen to earlier instalments (notably the serials Mirror, Cold Fury, Caged and Devil’s Advocate, all available on download from the BF website for as little as £2.99) before they begin listening to this set, as they really establish the political state of play in the Terran Federation.
Paradise Lost is the strongest of this quartet of plays, even though it ceases to be a story in its own right half-way through and becomes the first chapter in an epic, broader political saga. Nevertheless, writer Steve Lyons sets up an air of mystery in the opening minutes and throughout the first half of the play. Vila (Michael Keating) and Cally (Jan Chappell), aided by a zealous Federation dissident Alana Winterhaven (Clare Vousden), materialise on the former tourism and entertainment spot of Erewhon (pronounced “air one”) in a bid to ambush President Servalan (Jacqueline Pearce) who appears (to all intents and purposes) to be on the planet.

However, as the crew’s investigation reveals, the true villain of the piece turns out to be someone quite different yet familiar and equally as dangerous. Avon is subsequently forced to be quite ruthless (in a manner reminiscent of TV episodes Rumours of Death and the finale Blake) to protect his crew and his ship as they are unwillingly dragged into an unstoppable tide of events.
Steve Lyons’ script is also a terrific ensemble piece, as it gives all the regular characters, including Tarrant (Steven Pacey) and Dayna (Yasmin Bannerman), plenty to do within the story, as well as some great dialogue. Dayna ends up having a great verbal stoush with the villain, while Tarrant is introduced to Mordekain (John Green), an embittered former Federation space colonel who bears many of the cybernetic hallmarks and scarred psyche of the late Space Commander Travis without being a complete carbon copy of that character (Lyons carefully foreshadows Mordekain’s introduction through an earlier aside to Travis between Avon and Vila).
Tarrant and Mordekain’s conversation about military honour and duty would be dull in the broader SF genre but, thanks to the high quality of the writing and the strength of Pacey’s and Green’s performances, it is entertaining and fascinating. It’s also undercut by moments of light humour; when Mordekain reveals that he has remotely deactivated a landmine that Tarrant has stepped on during their exchange, Tarrant mutters disappointedly: “Oh! Oh, well, you could have mentioned it sooner! I’ve got cramp in my foot now!”
It’s a little disappointing then, that with such a dramatic, momentous first episode, the rest of the plays in the boxset are largely removed from this story arc. That’s especially when the second entry in the boxset – True Believers – is arguably amongst the worst pieces of drivel to be produced under the B7 banner!

True Believers is notable for using a single member of the regular cast – Cally – in the narrative. Otherwise, it’s a totally forgettable experience. It’s another example of BF attempting to replicate B7’s habit (especially in the third series) of experimenting with more mystical, fantasy-driven episodes from SF and fantasy writers (eg Tanith Lee). Of course, the lesson that BF hasn’t learned from history is that such stories in B7 were ordinary instalments and are largely unpopular with the fanbase 40 years on. Worse, some episodes often tied in with Cally’s telepathy and mental abilities, creating a cliched, cringeworthy trope.
Simon Clark is a renowned SF and horror scribe who has received much acclaim for Night of the Triffids (the authorised sequel to John Wyndham’s original Day of the Triffids, which Clark and BF have also adapted for audio). However, drafting a talent like Clark to write a B7 script is no guarantee of quality. The script is universally awful and, worse, unashamedly pulls the “Cally card”, as our heroine, her mind under assault from a powerful entity, teleports alone to a desolate, former Federation colony, whose human inhabitants are besieged by a horde of the planet’s indigenous natives under the influence of a malign being. (Never mind that in the logic of the story, and the broader context of the TV series, no one aboard the Liberator would just let Cally go off on her own, especially if she was under mental duress.)
Cally befriends a self-appointed high priestess (Rebecca Grant) who claims she can commune with the local goddess, and a young militia man (Walles Hamonde) who is besotted with the priestess. They embark on a quest to the Singing Grave, an ancient monolith of the 2001: A Space Odyssey variety, which also appears to be the source of Cally’s distress (and the malign influence). It doesn’t help that the performances from the guest cast are variable (although Roger Parrot is good as agitator Mavlek), and that even Jan Chappell overacts throughout the play.
There is a line from Cally in the play – “My brain is scorched!” – that sums up perfectly just how painful True Believers is for the listener by its close! Paul Darrow would be especially grateful that his services were not required for this script.
Fortunately, the third and fourth instalments rescue this boxset from being a disaster. Resurgence is a terrific episode, and a great ensemble piece, while Fearless is a Vila-centric episode with a twist.
If Paradise Lost and True Believers respectively could be described as political drama and (bad) fantasy, then Resurgence is just good old-fashioned space opera. It is a sequel to B7 series two opener Redemption and features the “resurgence” of another old foe. While TV series creator Terry Nation would not have envisaged the underlying concept of Resurgence as worthy of further exploration, writer Mark Wright demonstrates in his play the wonderful potential the antagonist had to be a perennial “big bad” – in the spirit of Doctor Who’s Cybermen and Star Trek’s Borg. Wright himself argues in the CD extras that the way the adversary was dispatched in Redemption always seemed a little too easy and convenient (designed to meet the confines of a 50-minute TV episode), and that it makes sense for something of that adversary to survive, and to reassert itself.
Resurgence is, in many respects, a retread of events in Redemption. However, the fact it features the later Liberator crew headed by Avon, and not the original crew lead by Blake, means that characters like Dayna and Tarrant react quite differently and unexpectedly to a threat they are encountering for the first time, as opposed to Avon and Vila, whose familiarity breeds contempt and acquiescence (“Oh! That [spoiler]!” Vila exclaims upon realising the identity of their attacker). Indeed, it is Dayna’s own troubled psyche that proves pivotal in the climax …
The “big bad” is well represented by Abi Harris as Alta-Six, who captures the intonations of her predecessors on TV perfectly. She even develops a catch-cry – “All infarctions will be punished with extreme force!” – that is reminiscent of Cybermen and Borg alike (eg “Resistance is useless! You will be deleted!” or "Resistance is futile! You will be assimilated!”). By the end of this tale, the implication is that the “big bad” endures, despite all the damage wrought by the Liberator crew – and that there may still be remnants of its deep space fleet out there that could respond to its call …
The final instalment – Fearless – is a heist tale. Vila and Cally infiltrate a black market auction, managed by a former colleague of Vila’s – Zeera Vos (Rebecca Crankshaw) – on an abandoned Federation station that is orbiting an unstable neutron star. As if conning the con-artist won’t be enough of a challenge, it’s not long before the Liberator shipmates realise that the other prospective bidder is Servalan …
The biggest twist of this story, however, is with Vila. It would be a spoiler to give away how and why he undergoes such a dramatic change in personality, but gone is the cowardice, the caution and insecurity – the qualities that embody Vila’s fear, as he says early in the tale. Instead, the Vila that arrives with Cally on the space station oozes confidence, arrogance, impatience, assertiveness and even a self-belief in his own animal magnetism! Not only does Vila attempt to make Zeera envious of his suddenly new-found charisma and wealth, he even passes off Cally as his girlfriend! And then in the climactic scenes with Servalan, he not only holds his own against her threats but startles her with some cheeky and suggestive retorts:

Servalan: “Stop talking Vila – right now, or I shall cut out that cowardly tongue of yours!”
Vila: “Oh, I can think of far more pleasing things you could do with my tongue!”
Zeera (in shock): “Vila!”
Servalan (equally as shocked): “I beg your pardon?”

It would have been all too easy for Michael Keating to really camp up his performance as this more brash, haughty and self-assured Vila but to his credit he doesn’t overplay it, particularly in the scenes with Servalan. He plays it straight and entirely convincingly. Strangely, in the CD extras, Keating isn’t even asked what he thinks of this new, super-improved portrayal of his character – which is extremely odd by the BF production team!
As a contrast to Vila, the only “cowardly cutlet” in sight is Zeera’s partner in crime Tano Herrick (Donovan Christian-Carey), a former technician who is on the Federation’s “wanted list” for desertion. His reaction when he realises that one of the bidders is none other than the Federation’s President/Supreme Commander/Empress is to panic:

Herrick: “Why didn’t you tell me about Servalan?”
Zeera (dismissively): “I didn’t think it mattered!”
Herrick: “It’s Servalan – (high pitched whine) Servalan!”
[And later] “Yet … (with even more hysteria) She’s Servalan!”

Ultimately, Herrick’s own fright and dread get the better of him, although if the Vila we’re most familiar with was in the same situation, he would be savvy enough not to panic quite so easily and endanger the lives of so many others in the bargain. It no doubt galls another sidekick – Servalan’s accompanying officer Jallen (Daniel Collard) – that he is the victim of such errant stupidity. As a hardened soldier, he remains loyal to his President and is withering of the Liberator crew, even as Cally shows the utmost compassion to try to save his life.
The only disappointment with Fearless is that for a hustle/heist story, the twist is so mundane as to not count as one. The joy of heist-themed tales is seeing how the major characters end up being heroes or victims of their ploys. In the 1981 B7 TV episode Gold, the twist is that the prize becomes worthless because the Federation changes the goalposts on the protagonists. In Fearless, the prize similarly proves a sham – except the protagonists are completely unaware of that as they flee before the big revelation. Only Servalan learns the truth and by that time she has abandoned her hopes of attaining the elusive prize altogether – although in Zeera, she finds a kindred spirit (Zeera is every bit as nasty and ruthless as Servalan, if not as refined). With the closing minutes of Fearless tying back to Paradise Lost, it’s clear that a new partnership is forged … It will be fascinating to see where it goes and how the rivalry between Vila and Zeera is developed against the larger wartime backdrop.
In all, apart from the dire True Believers (which is best ignored by listeners altogether!), Crossfire – Part 1 is a good start to a loosely connected story arc that promises to shake up the stability of Servalan’s Federation while also testing the resolve of the Liberator’s rebels. Who do they back in the impending conflict? Can they step to one side and hope that the lesser of the two evils wins? Or will they have to make a stand when it’s crunch time? If the quality of Paradise Lost, Resurgence and Fearless is any guide, the rest of the Crossfire saga promises to be suspenseful, entertaining and exciting.

Written by Steve Lyons, Christopher Cooper,
Sophia McDougall, George Mann
Produced by John Ainsworth
Stars: Paul Darrow (Avon), Michael Keating (Vila), Jan Chappell (Cally), Steven Pacey (Tarrant), Jacqueline Pearce (Servalan), Yasmin Bannerman (Dayna), Alistair Lock (Zen/Orac), Sara Powell (Rokon), Stephen Boxer (Tarkol), Daniel Collard (Aqulia/Guards), Sophia Hannides (Shuuna), Tracy Wiles (Valance), Keith Drinkel (Kaverin), Charlotte Watson (Imra)
Big Finish Productions, 2017

“You see, it pays to listen to Vila sometimes! I knew Blake before any of the rest of you, you know! This is the voice of hard-earned experience here! That ought to earn me some respect!”
 

Vila, ​B7: Liberation

Spoils of War, the first Blake’s 7 full cast drama release from Big Finish in more than two years, is a welcome return to form for this beloved former TV franchise. As a regular reviewer of the B7 audios, I had felt the turnover in output – the release of two micro-series of full cast B7 audio adventures in rapid succession, coupled with regular releases of the narrator-driven The Liberator Chronicles boxsets – had impacted on the high standards of writing and production and a rest would be beneficial.

As it was, this latest boxset experienced numerous delays anyway because of the untimely passing of Gareth Thomas, who played the eponymous title character Roj Blake (this volume was slated to be set during the second season of the original TV series when Blake was in command of the Liberator). As a result, rewrites were performed to more firmly set Spoils of War at various points of the TV program’s third season, following the outcome of the Intergalactic War between the Terran Federation and alien marauders from Andromeda.

All bar one of the regulars from B7’s third series appears in Spoils of War. Paul Darrow (Avon), Michael Keating (Vila), Jan Chappell (Cally), Steven Pacey (Tarrant) and Jacqueline Pearce (the villainous Servalan) reprise their roles almost effortlessly (as if no time has passed at all since the demise of the original TV series). The part of female gunslinger Dayna, however, has been recast. The original actor Josette Simon turned down the opportunity to reprise the character in the previous micro-series of full cast B7 audio plays. Although her guest appearance alongside close friend Paul McGann in the Doctor Who audio adventure The Sontaran Ordeal gave B7 fans some hope that she might change her mind, Simon again declined to take part.

As a result, Yasmin Bannerman (who most recently played Adjudicator Roz Forrester in the Doctor Who novel adaptations) has stepped into Dayna’s role, much to her joy. In the CD extras, Bannerman confesses that she and her older brothers were B7 fans when she was a child and that she admired and adored Simon as Dayna precisely because she was such a positive, inspirational character (at a time when there were few positive portrayals of black actors on TV).

The recasting of Dayna is in some respects a “godsend” for the boxset’s first two writers – Steve Lyons and Christopher Cooper – as it enables them to reintroduce Dayna and Tarrant, as well as give Bannerman a strong entry point. Liberation and Outpost are meant to occur within a short period after TV episode Powerplay, when these characters first joined the Liberator.

As a result, the Dayna we meet in Liberation is a more insubordinate, impetuous character than she was in later TV episodes. Not only is she more inclined to question the authority of other members of the crew (including Vila and Tarrant), she’s not above starting her own little rebellion on the Federation world of Morphennial to free the leader of the local resistance.  While Dayna’s “little war” is mostly successful, it’s not without casualties, it puts another member of the Liberator crew at risk, and the prize the local rebels seek is a gross disappointment. Dayna comes out of the experience a more sober character.

At this stage in the program’s timeline, Liberation also outlines just how little trust exists in the revamped Liberator crew. Cally, Vila and Dayna distrust Tarrant because of his former life as a Federation soldier. Vila especially dislikes the changes to the Liberator’s crew, not only because he and Cally still know so little about the newcomers but they’re not even sure about Avon’s trustworthiness. Left behind on the Liberator to his own devices, Avon contemplates the merits (not for the first time!) of abandoning his crew and bailing with the crew’s supercomputer Orac.

Steve Lyons’ script is also a logical starting point for this boxset, considering the Federation is now at its weakest. The recent Intergalactic War has cut off a succession of worlds and bases from the Federation’s umbrella, and law and order on Morphennial has collapsed as the citizens suffer withdrawal symptoms from the pacification drugs and techniques that were glimpsed in the very first TV episode The Way Back. Captain Rokon (Sara Powell), craving of the additional manpower and resources she needs from the Federation, is losing the fight to preserve the peace and quell the anxious population while the de facto rebel leader Tarkol (Steven Boxer) struggles to rally the morale of his ageing, handicapped resistance comrades.

Powell (who impressed as the villainous PA to Colin Baker’s Sixth Doctor in the River Song adventure World Enough and Time) plays Rokon as a disillusioned, contemptuous and paranoid soldier. Boxer gives Tarkol a dry humoured portrayal, with flashes of a hardened, ruthless streak that leaves you questioning if Morphennial at the conclusion really is being left in safe hands.

Outpost, the second serial, continues the notion of the power vacuum in Federation space, as a cry for help from a desperate Federation technician brings Tarrant and a reluctant Vila to an abandoned Federation base overrun by space pirates. This is, by far, the most “fun” of the four serials, as it combines high levels of drama with black comedy. Like Dayna in Liberation, Tarrant’s introduction to Blake’s “glorious revolution” is Vila, whose timidity and distinct lack of heroism hardly fill the new recruit with confidence. Nevertheless, the chemistry between Pacey and Keating is excellent and they make a great double act:

Tarrant: “You don’t strike me as an idealist. Why do you follow Blake – or Avon, for that matter? What are you even doing on the Liberator?

”Vila: “I don’t know! I’ve never stopped to think about it! I don’t really follow Blake – although sometimes I worry that I actually started believing in him – and it’s not like me to believe in anything! As for Avon … Nice fella, if I keep telling myself that ... There is a chance he won’t throw me out the nearest airlock!”

The villain of the piece – “Space Captain” Valance (Tracy Wiles) – is the highlight of the serial. Her scenes with Vila are as amusing and mortifying for the listener as they are for poor Vila himself. While many B7 villains over the life of the TV series were camp, and Valance also fits this mould, she is also calculating and ruthless, as she demonstrates in her interactions with Federation technician Shuuna Rel (Sophia Hannides). Shuuna is herself quite flirtatious and scheming but ultimately her affinity for changing sides at the drop of a hat stretches patience only so far.

Close Enough is set much further into the season, after the events of TV episodes Children of Auron and Rumours of Death (which are referenced in the dialogue). This is possibly the best written of the four instalments, as writer Sophia McDougall gives us a story about telepathy that is – by B7 standards – quite fresh and original (in the TV series, it became staple for the Liberator’s resident telepath Cally to be possessed by some extra-terrestrial or extra-dimensional mental force). Close Enough is a well crafted, interesting piece about how the good purposes of science can be perverted (as are most good things in the Federation) to nefarious ends.

The character of Imra (brilliantly portrayed by Charlotte Watson) reflects the naivety of the impulsive young scientist as she seeks to realise her childhood dreams, seemingly at any cost – and most particularly at the expense of Avon who is placed in a unique, awkward and fatal situation. The ramifications of Imra’s experimentation has been explored superficially in B7 before (notably in the lamentable 1998 radio serial The Sevenfold Crown) but not with the quality and maturity of the writing and performances here.

Solus is a red herring of a title for the final instalment, as it is not about the deep space scientific research station that features in the opening minutes of the tale (and on the CD inlay artwork) at all. The episode continues the theme of mind control from Close Enough but in a wholly different manner. Indeed, the plot device is probably more reminiscent of Star Trek than B7 as Servalan makes an audacious play for control of the Liberator, only for it to backfire on her spectacularly and not only endanger herself and the crew but also threaten the rebellious population of a nearby world that is trying to secede from the Federation (indeed, a Deep Space Nine episode from the 1990s provided a similar scenario, in which the villain, smugly amused by the protagonists’ predicament, was also hoist by his own petard!). Much to their distaste, Tarrant, Vila and Dayna find themselves having to keep Servalan alive so that she can thwart the impending threat to the rebellious Federation colony.

Where Outpost and Close Enough focus on specific members of the Liberator crew (virtually to the exclusion of the other regulars), Solus is a great ensemble piece that strongly gives sufficient “air time” to all the Liberator’s characters (including Alistair Lock’s Orac and Zen), as well as Servalan. There are no other actors in guest capacities in this tale, and as a result the listener can more closely follow and appreciate the regular characters’ dilemmas and race against time to avert disaster. Bannerman in particular encapsulates the anger and resentment Dayna feels towards Servalan (the President did, after all, murder her father in the TV episode Aftermath) and towards Avon (who naturally does not approve of the rendered assistance). Pacey and Keating also have some great dialogue, with Vila performing a heroic gesture that astonishes even Servalan, while Darrow continues to play Avon as cold, calm and collected. Pearce clearly relishes playing Servalan; while her character isn’t as deliciously evil as she could be on TV, Pearce nevertheless has fun tapping into Servalan’s dark humour and playful side.

While the central conceit of Solus works quite effectively, the climactic solution is a weak one that lacks credibility and dispenses with the threat in an arbitrary way. Having convincingly generated a scenario whereby the Liberator crew are boxed into a corner with seemingly no way out, scribe George Mann then must overturn 55 minutes of magnificent work with a band-aid solution in just five minutes.

Servalan’s fate is left open-ended at the conclusion of Solus (there’s no doubt she will return, if only because she was in the TV series after this point in its timeline!). Indeed, it’s interesting to note that all the female antagonists – Servalan, Rokon, Shuuna and Imra – in the conclusions to all four serials inevitably have their comeuppances. Their duplicity, self-centredness and paranoia purportedly make them “bad” people — even though all these qualities exist to varying degrees in the Liberator’s rebels, including Avon (the fact they are all women, I hope, is merely coincidental, otherwise BF’s version of B7 could be straying into the very murky domain of gender politics!). B7 was not a program that was distinctly black and white in its definitions of characters, it was (within reason) a “warts and all” portrayal of a core group of rebels attempting to fight the system from outside of it while still being inextricably tethered to that system.

In all, Spoils of War is a great return to form for the B7 franchise after a couple of lacklustre efforts from BF in 2015. New producer, director and script editor John Ainsworth is off to a great start with this anthology boxset and I look forward to what he can achieve as BF embarks upon an ambitious three-volume linking saga called Crossfire. Strap in, standard by 11!

 Written by William Shakespeare

Script Editor: Justin Richards

Directed by Scott Handcock

Cast: Alexander Vlahos (Hamlet), 
Miles Richardson (Claudius), Tracey Childs(Gertrude), 
Terry Molloy (Polonius), Daniel Brocklebank (Horatio), 
Deirdre Mullins (Ophelia), Samuel Barnett (Laertes), 
Jolyon Westhorpe (Rosencrantz), Geoffrey Breton (Guildenstern), Barnaby Edwards (The Ghost), 
Youssef Kerkour (Barnardo), Alex Jordan (Francisco), 
James Joyce (Marcellus)

Big Finish Productions - Released August 2017

“Not another one!” Recalling Brenda from Bristol’s much-quoted reaction to the announcement of the 2017 General Election I had a similar reaction to the prospect of yet another production of what is perhaps the most performed of all Shakespeare’s works. Hamlet is probably the well-known and widely regarded as the one of the most outstanding works in the whole of English literature. However, much as I am a fan of Shakespeare and certainly feel that his tragedies leave the comedies in the shade by comparison, I’ve always favoured his history plays especially that one about the hunchback king who ended up buried in a Leicester car park, which tend play up the political drama with a strong emphasis on tragedy and a dose of black comedy thrown in for good measure.

Whilst not being my personal favourite Hamlet certainly owes a debt to the history plays with plenty of political goings on for those paying attention (provided you’re not watching one of the film versions which chose to cut out Shakespeare’s intended ending with the arrival of the Norwegian prince Fortinbras at the head of an invading army) even though it focuses mainly on the tragedy of its eponymous central character.

This audio production marks a first (but hopefully far from the last) venture into the works of Shakespeare from Big Finish who have built their reputation largely upon the production of brand new adventures featuring established characters. Recent years have seen them take a few tentative steps into adapting classic works which have included last year’s excellent dramatisation of Dracula and most recently a series of adaptations of the works of H.G. Wells. This production has emerged as the brainchild of producer Scott Handcock and lead actor Alexander Vlahos who have previously collaborated on five series of Big Finish’s first wholly original series The Confessions of Dorian Gray. At this stage I should confess that whilst I thought Vlahos gave an excellent performance throughout that series, I was rather disappointed at the decisions taken on how it was brought to what has been described as a definitive ending last year.  When I first heard that the pair’s next project would be to take on Hamlet I was rather sceptical. I am however delighted to say that my fears that Big Finish were over reaching themselves were unfounded and that this is an excellent production which makes a genuine virtue of the audio medium. Whilst Hamlet remains oft-performed with many stage and film versions available to peruse, a quick online search indicates that there are only a few radio productions in circulation, and only one which was recorded within the last decade.

With so many recent TV actors stage renditions of the prince of Denmark to be compared with including Tennant, Simm, Cumberbatch and the prospect of Hiddleston in the wings, Vlahos is an almost uniquely youthful Hamlet. He is genuinely believable as a distraught university student who has returned home to find his father dead, and both his mother and his expected inheritance suddenly in the control of his uncle. He has a lot of fun with the advantages of being on audio and not give a theatrical shouted performance such as playful delivery of lines such as “words, words, words” and a delicately whispered rendition of the most quoted speech in the whole of English literature from Act III. The dumb show performed by the players in the same act is cleverly adapted into narration of Shakespeare’s stage directions. It is left up to the listener to decide how much of Hamlet’s apparent decent from melancholia at the feeling that he has effectively lost both parents to the very edge of apparent madness is genuine and how much is an act to keep his uncle and step-father guessing.

Miles Richardson, perhaps best known to Big Finish listeners as the enigmatic Irving Braxiatel from their long running Gallifrey and Bernice Summerfield spin-off series, gives excellent support as Claudius, the king who appears to be trying to act in his nephew’s best interest whilst hiding the secret that he has murdered his way to power. One wonders if Shakespeare missed a trick by not making Claudius more central to the action as he certainly shares common features with other anti-heroes including the aforementioned hunchback and the eponymous lead character of the Scottish play. If viewed from Claudius’ perspective the play has the feeling of being a pre-cursor to House of Cards, in which case Richardson is absolutely perfect to play the king with an uncertain grip on power and it was no surprise to learn that he was Handcock and Vlahos’s first choice for the role.

There are only two women in the cast but both give great performances. Tracey Childs is a harsher Gertrude than some previous portrayals. However, she does not seem too overtly under the spell of her new husband which lends the character a little more believability. Deirdre Mullins also gives a very believable performance as Ophelia who is perhaps the most tragic character of the whole play as she gets caught up in the games between Hamlet and his uncle and manipulated by her own father Polonius (an excellent performance from Big Finish stalwart Terry Molloy).

Of the remaining cast, honourable mentions should also go to the always excellent Samuel Barnett (of whom more soon in the upcoming Cicero series as well as BBC America’s Dirk Gently),Barnaby Edwards as the Ghost of Hamlet’s Father, Daniel Brocklebank as Horatio and James Joyce in various ensemble roles including, if my ears were not mistaken, Fortinbras in the play's concluding scene.

It would be remiss to conclude without acknowledging the excellent atmosphere created by Neil Gardner’s sound design and the music of James Dunlop, whose previous work was a major contribution to the success of The Confessions of Dorian Gray.

One minor quibble, and this is based on a lack of knowledge of different versions of the text which exist, is the choice to pronounce the word “murder” as “murther”. Whilst I assume this must derive from an earlier version of the text than I’m familiar with which it would surely have made more sense for a production aiming to appeal to audiences who won’t be familiar with the play to use a pronunciation which would have made more sense to the modern ear. Script editor Justin Richards is however to be commended for having kept cuts to the text to a minimum and allowing this release to run for a full three hours. However, the line “remember me” appeared to be missing from the ghost’s departure in Act I which would have gone unnoticed had Hamlet not then quoted it a few lines later. Perhaps this was an edit which was overlooked. Overall these did not affect this reviewer’s overall enjoyment of this excellent production.

This reviewer’s appetite has now been well and truly whetted for more of the Bard’s works to find their way into Big Finish’s studios. Already a production of King Lear starring David Warner is on the way later this year and hopefully there will be more to follow in the near future.

Whilst it may not be this reviewer’s personal favourite, this production certainly goes someway to exploring the indefinable quality of what makes Hamlet such a special play to experience in performance but when asked to set down what that quality is one can only conclude by giving Hamlet himself the last words:

“There are more things in heaven and earth, Horatio,

Than are dreamt of in your philosophy.”

Hamlet is available now from Big Finish and on general release from September 30th 2017

7 - The Broken Man

Written By: Bryan Cogman 

8 - No One

 Written By: David Benioff + D.B. Weiss

---

 

STARRING: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Liam Cunningham, Natalie Dormer, Carice Van Houten, Alfie Allen, Sophie Turner, Maisie Williams,   Diana Rigg, Rory McCann,  Dean-Charles Chapman,
Clive Russell, Jacob Anderson, Jerome Flynn,
Daniel Portman, Nathalie Emmanuel, Gemma Whelan,
Gwendoline Christie, Kristofer Hivju  + Conleth Hill

WITH: Jonathan Pryce, Julian Glover, Anton Lesser,
Ian McShane, Tim McInnerny, Bella Ramsey,
Richard E. Grant,  Essie Davis, Tobias Menzies,  Tom Wlaschiha, Roger Ashton-Griffiths, Eugene Simon, Richard Dormer,
Paul KayeIan Gelder, Hannah Waddingham + Faye Marsay

AND: Jóhannes Haukur Jóhannesson, Ian WhyteHafþór,
Júlíus Björnsson, Ricky Champ, Margaret JackmanIan Davies, Murray McArthur, Ross McKinney, Tim Plester, Daniel Tuite,
Leigh Gill, Rob Callender,  Sam Redford, Ian Davies, Steve Love

---

Directed By: Mark Mylod 

Showrunners + Producers: David Benioff + D.B. Weiss

Game of Thrones is now available on DVD,
Blu Rayand streaming services Worldwide

The build up to a truly riveting climax for Season Six gathers apace in these episodes. Whilst neither move the story on drastically further, there is some welcome development for two characters that once formed one of the show's more unlikely, but also more entertaining doubles acts - namely the Hound and Arya.

When these two were last together they seemed to have formed a deep bond, but Arya never quite forgave the Hound for his murder of a childhood friend of hers, and followin Brienne (brutally and perhaps unfairly) beating him in one-on-one combat, she took the chance to rob him and leave him to die.

And yet he still survived.

Many readers of this site may at first do a double take, especially if they never picked up the fourth book in the Song of Ice and Fire saga. The Hound had only the briefest of resurrections there, but his passing mention was enough to confirm that he had not been killed off by his wounds (which also occurred in an entirely different location). Here we have a much more developed explanation, whereby a whole community of pious and kindly people save him from his grievous injuries (the most significant being an infected bite on the neck – which harked back somewhat to Khal Drogo’s fate).

Having Ian McShane as a one-shot guest star was a great decision by the production team. He really makes the most of his role as Brother Ray; which is primarily composed of sharp interplay with the rather more cynical Sandor Clegane. At times this focus on a beautiful picturesque country retreat in the Riverlands is very ‘anti’ Game of Thrones. There is even a pre-credit sequence that may make some viewers unsure they are on the right channel. But towards the end of The Broken Man, there are clearly ominous signs of something nasty on the way.

The motivation behind the Hound ‘breaking back’ to his old mannerisms of swearing and revelling in brutal killing is strong; he had bonded with an entire community that made him see the world he lived in as worthy of some optimism after all. The revenge on the breakaway group from The Brotherhood Without Banners is grim and bloody, but also immensely gratifying. It is also fun to see the reunion of Cleagane with Thoros and Beric Dondarrion, and how they eventually allow their former enemy to have two acts of vengeance (by hanging) rather than just the one. 

*

As for Sandor's cruel and lethal older brother, there is a snippet of his potential destructive capabilities (developed thanks to Qyburn). Although some deaths on the show have been more graphic than this, it still is a powerful moment as one of the Faith Militant is ripped apart – losing his spine, and bleeding profusely into a nearby drain.

Yet the potential for a Trial By Combat  - which would be a guaranteed win for Cersei - is quelled thanks to the smart thinking of The High Sparrow, who prompts Tommen to change the law on how guilt or innocence is ascertained. Many fans have keenly hoped for a showdown of the two brothers since a brief face-off in Season One. Yet it remains something that has never quite happened thus far.

It is rather less clear-cut however for Jonathan Pryce’s beautifully-played zealot when it comes to getting ‘into bed’ with the Tyrells. (And there is a risque exchange with Margaery where he encourages her to resume conjugal duties with her much younger husband). Using her powers of intellect and wit, the Queen is able to show Olenna she still is bonded with the Tyrells. Thus it is clear to followers of the show that her public declaration on the steps of the Great Sept was tactical, rather than sincere.

Whilst that is some relief for the Queen of Thorns, she still has decided that enough is enough and embarks on a return home to Highgarden. Her verbal abuse of Cersei is a terrific one-to-one scene – to my mind such exchanges are the bread-and-butter of the show. Olenna's firm put down of Cersei as possibly ‘the worst’ person she knew in her long life is a great one-one-one scene for Diana Rigg and Lena Headey.

**

Arya has her best material of the season so far, as her carelessness in wondering the streets with no disguise and sure-fire she can return home almost costs her life. That she trusts Lady Crane to nurse her back to health also proves decisive; the 'Waif' finally ensures the marked woman is slain, for the purposes of the Many Faced God. 

That the younger Stark lady uses her former blindness - which perhaps lasted several months in actual chronology - in the final showdown with her enemy is clever and poetic. Perhaps a brief scene of these two fighting in the dark would have been welcome, but the cutaway to The Hall of Faces and Jaqen's reaction soon after is still a rousing moment with which to end the second of this pair of episodes. Finally a girl is truly not 'No One'.

**

Elsewhere, we follow the other principle surviving Starks as they try to reclaim Winterfell from the Bolton-Karstark-Umber 'axis'. Jon is desperate to accumulate an army, even if know it is going to be comfortably outnumbered and less disciplined than that of his enemies. He has at best mixed success.

Initially, he manages to find the one remaining Mormont who is left intact and relevant to the North; the young girl Lyanna. However, despite not even being eleven yet, she has a gravitas and cool logic which  makes her a formidable presence. Davos is the most confident in interacting with her, and it recalls the fine interplay Liam Cunningham had with Shireen actress Kerry Ingram. 

Bella Ramsey's debut on the show rivals Maisie Williams' early days in the role of Arya, and she makes what could be a silly and overly comedic scene play out beautifully.

Speaking of comedy, how welcome it is to see 'Percy' from Blackadder - otherwise known as Tim McInnerny. He of course can do serious roles justice -  as was the case in Doctor Who - but there is always a tinge of melodrama with this actor. Yet this is by no means a bad thing, when much of Thrones takes itself so seriously. His refusal of Jon is painful to see, but totally understable given how poorly the late Robb handled politics, in a region where self-preservation and insular thinking is commonplace. Also, this particular 'lost avenue' takes place in Deepwood Motte – an area of the Westeros map which is given much more prominence in the books. The showrunners do a fine job here in acknowledging their source material but carving out a different path.

More positively for the 'born again' Jon, the Wildlings will be with him come hell or high water. They have of course already faced the army of Wights, and whilst they suffered a heavy defeat at the time, they do know a worse enemy is looming that keeps coming back. Consequently an alliance is galvanised, with Wun Wun (the lone surviving giant) helping the process.

Sansa has little direct impact in negotiations. However we know from The Door that Littlefinger and the Knights of the Vale could help. A short scene depicts her receiving a letter, and the hope would be that the older Stark daughter has some options, which others in the 'good' Alliance do not have.

What is also notable in these Northern scenes, is that whilst Jon and Sansa have grown a great deal, they are not the best at the subtleties of politics and negotiations – which makes viewers wonder if either would quite manage on the Iron Throne, were the opportunity to present itself.

**

With Jaime dismissed from the Kingsguard, and having lost two children (with Myrcella’s murder hitting him especially hard) there is a bit of a redux for this great character. Flashes of the brute with a ‘charming’ smile begin to show again. Not much softness is displayed by the golden-handed warrior when he puts Walder Frey’s sons in line. Even less mercy is evident when he threatens Edmure Tully with a catapault demise for the child he gave to Roslin Frey. Bronn himself has had near enough of Jaime by now; knowing that the often-said 'A Lannister Always Pays His Debts' did not materialise in his case. 

However, I have some minor issues with the Riverrun sections. One is that some of the dialogue for Bronn and Podrick is a little too self-indulgent and crude. The suggestion that Pod likes Brienne is very silly, as they were always just an odd couple of clumsy slow-witted serving boy and serious, proficient fighter. It may show some of Bronn’s frustration with not having a romantic partner after all the hard work he has done of late, or it may just be an attempt to do broad humour to please some of the ever growing audience of the show.

Another disappointment is that the Blackfish simply gives up on fighting for Sansa, even though he would be a good addition. However, this does help the story itself as later Jaime does not ask his men to pursue Brienne and Pod, as they row away down the river. (He certainly would have done if this notorious enemy of the Lannisters was present). Further, director Mylod opts to not show the final stand for Ser Brynden Tully, and we must assume the character either inflicted a fatal wound or two, or was instead swiftly dispatched by Jaime’s men.

**

Finally, some words on the other regions across the Narrow Sea. After her rousing speech atop Drogo, Dany has virtually nothing to do in this section of Season Six. However, she makes a surprise appearance once the Siege of Meereen begins in earnest. Without a line of dialogue, it is still very telling just how angry she is with Tyrion for his handling of both the city, and the politics with the Slave Masters who had visited not long ago. Peter Dinklage continues to be very watchable, but some of his recent dialogue is not of the highest quality, and could easily grace routine fan fiction. The lack of source material does sometimes work against the show, but it depends on a given storyline, and also if the director can paper over the cracks. The farewell scene between Tyrion and Varys is good setup for the later siege, and raises suspense if these two will ever reunite. However, once again they freely walk around Meereen without any guards for backup.

A much better section sees the relationship of Yara and Theon further developed. With his ability to father children, or indeed to have any kind of full physicial relationship taken away from him by (the mercifully distant) Ramsay, Theon still is struggling to feel worthy of being a player in the Game. But Yara manages to achieve some kind of response, through making her brother feel outraged over the phrase ‘a few bad years’. His torture will never leave his trouble psyche, and neither will his guilt for what he did in Winterfell with the Ironborn. But he still has potential to prove himself. Also Yara is quite brazen in showing that she has a preference for women, but treating them like objects – at least in the context of the ready supply of whores in Pentos.

Many pieces on the board have been set now. The biggest (and final two) episodes of the season should result in a rush of excitement and drama, as the 2016 run of Thrones reaches its destination point.

5 - The Door
(Written by David Benioff and D.B. Weiss)

6 - Blood of My Blood
(Written by Bryan Cogman)

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STARRING: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Liam Cunningham, Natalie Dormer,
Carice Van Houten, Alfie Allen, Sophie Turner, Maisie Williams, Isaac Hempstead-Wright, Aidan Gillen, Diana Rigg, Joseph Mawle, John Bradley, Dean-Charles Chapman, Hannah Murray, 
Jacob Anderson, Daniel Portman, Michiel Huisman,
Nathalie Emmanuel, Gemma Whelan, Gwendoline Christie,
Kristofer Hivju, Conleth Hill + Iain Glen

 
WITH: Jonathan Pryce, David Bradley, Richard E. Grant, 
Kristian Nairn, Vladimir Furdik, James Faulkner, Essie Davis, 
Ellie Kendrick, Tobias Menzies, Pilou Asbæk,
Michael Feast, Tom Wlaschiha, Roger Ashton-Griffiths,
Ian Gelder, Hannah Waddingham, + Faye Marsay.

 

AND: Samantha Spiro, Eugene Simon, Freddie Stroma, 
Rebecca Benson, Tim Plester, Daniel Tuite, Ania Bukstein,
Sam Coleman, Kevin Eldon, Leigh Gill, Eline Powell,
Rob Callender, Ben Crompton, Gerald Lepkowski, 
Wayne Foskett, Sebastian Croft, David Rintoul, + Kae Alexander

 SPECIAL GUEST STAR: Max von Sydow

---

Directed By: Jack Bender
 

Showrunners + Producers: David Benioff + D.B. Weiss

Game of Thrones is now available on DVD, Blu Ray
and streaming services Worldwide

Myriad viewers are presented once again with the middle episodes of the part-fantasy/part 'War of the Roses' serial epic. This sixth run of adventures to feature some of the most iconic characters of recent times on television is mostly breaking new ground, although sometimes there is a return to the material George RR Martin so vividly produced. (And readers can certainly take their pick - there are paperbacks, hardbacks, eBooks, and even a fully illustrated edition of the very first volume).

The Kingsmoot was a riveting passage in the somewhat turtle-paced A Feast For Crows (that tome feeling at times flat, in that half the characters' were kept off-page until Book Five). This scene is played a little more 'bare bones' in the TV show, but still works in conveying suspense and plot progression. Having Theon bravely concede he is not a leader, due to both his mutilation and also his sister being constantly there for the Iron Islands, is one of the more poignant moments for this brilliantly-played character. Yet his 'rubber stamp' of Yara's stirring speech is quickly quashed by the self proclaimed murderer of King Balon.

Although their father was not a good man, or particularly accomplished, he still would have likely intended Yara to take his place. Instead Euron with his bluster, but also some credibility, is quick to seize upon the baser elements that form many of the Iron-born reavers' fundamental character traits.

The chase/christening scene is a dynamic form of direction from Jack Bender, and portrays the different factions that may play a notable role in the overall future of the kingdom. Stirring music from Ramin Djawadi is used throughout. Whilst it is heartening to see the Greyjoy siblings escape on the ‘best ships’, it is also ominous that their uncle is resolute in being able to eventually find and slay them. 

*

Whilst Episode Three saw Sam's story arc tread water, there is now proper progress here. For some time it had been clear just how unpleasant was the highborn Randyll Tarly, and in particular how poorly he regarded his son. Regardless of the character only being depicted through spoken dialogue, viewers truly felt for Sam. Finally Randyll has an onscreen guise, (and the casting of James Faulkner is once again spot on). That his other son Dickon is relatively meek, and both his wife and daughter are so placid, takes away nothing from his grim gravitas. With Tywin now conclusively out of the show, it is good to have a reminder of how special Charles Dance's contributions were in days of yesteryear. 

Sam is learned and intelligent, but under such a barrage of verbal abuse and contempt by his own father, he is powerless to prevent headstrong Gilly from revealing her true origins. The tension at the dinner table is as worrying a moment to long-term viewers as any 'blood and guts' swordplay. The key difference lies in the subtlety of spoken dialogue, as opposed to choreographed action. The stolen Heartsbane is a loss to Horn Hill, but a triumph for Sam. It shows how much he has grown as a (makeshift) warrior, and a dedicated partner and friend for those closest to him.

*

Jorah has been 'lost' in many respects, even before we first met him in Season One, due to the magnitude of his being a disgraced knight. He had however found a purpose in being so devoted to his Queen. Yet twice she banished him. This time he wishes to dismiss himself, and for the very last time, but instead is tasked with finding a cure for his greyscale infection. This is no mean task, but should he (somehow) succeed, then he is expected to return to Dany's side, upon her 'rightful' acquisition of the Iron Throne. Whether this will ever happen is a very open question, but the key to this scene having such resonance lies in the brilliant acting from Emilia Clarke and Iain Glen play their roles. It also is intriguing, in having Daario feel for Dany's clashing emotions, even if he still dislikes Jorah. 

A terrific tracking shot of Dany's Khalasar following her, as Jorah prepares to leave, highlights just how slick a show Thrones is, and how worthy it has been of its various cinema 'upscalings' in recent times. In the concluding scene of Blood Of My Blood it becomes clear how devoted Dany is to her Dothraki identity (without of course ever relinquishing her Targaryen origins). Her proclamation that her warriors will cross the Sea - which is unprecedented for these barbarians -  and overcome all enemies on the mainland, is a stirring moment.

Yet it remains to be seen if Tyrion's negotiations - in the absence of the established monarch - are going to pay off. There is not too much screen time for Dinklage's magnetic character, once again with this portion of episodes; with the latter seeing the grand-persuader/drunken-wit being kept wholly off-screen. As the 'Imp' is still under pressure to convince the people of Meereen that peace is secured, and that Dany was responsible, he resorts to hiring someone with the right look and way of speech.

Yet another Red Woman is unveiled before both Tyrion and Varys, who represent the absent Queen. Yet the 'Eunuch' transitions from being supremely certain that he can control this visitor, to looking both surprised and frightened. Despite being a complete stranger, she manages to forcefully narrate the dreadful events that saw him castrated, and how they are part of the Lord of Light's designs. Varys had always believed he was in charge of his upward ascent in status, but the Priestess affirms how both of them were brought to this time and place, through higher powers (and designs). Ania Bukstein does great work in her limited screen time as this religious figure, which is indicative of how effective many 'minor' roles are in this ensemble TV series. Varys is always a strong presence in the show, but some earlier Season Six episodes did verge a bit too much into broad comedy. Regardless, he continues to be played with just the right amount of understatement by Conleth Hill. The show also does fine work in establishing just how much Tyrion and Varys had their comfort zone back in King's Landing. 

From hot dusty land, to wintry and forboding climes. The Door showcases a number of powerful demises, and the most moving of these applies to the gentle semi-giant that is Hodor. Whilst never the deepest character, he was kind and loyal, and Bran is almost ruthless in making a choice that results in Hodor's brutal and slow death. There also is a temporal-paradox 'echo' generated, which causes the previously articulate 'Wylis' to lose his established persona. Whilst Bran and Meera manage to make a frenzied escape, the show mainly conveys a deep impression of how time and causality may actually not always be linear. The flashbacks that have been such a strength of this latest season take on a new dimension, as the younger version of Hodor is forced to see his eventual death as Bran wargs through him.

The preceding scenes at the Weirwood, and the escape through the tunnel are again evidence of how strong the production values are for the show. Another of the Night’s King's lieutenants/underlings is destroyed by dragonglass and the effect is riveting, but nonetheless there is a sense of tension and hopelessness, as the great Tree is no longer a haven. As the few remaining Children of the Forest are extinguished, The Door has already made the viewer feel conflicted about their fate. Many centuries ago, these supernatural beings created the White Walker race, as a defensive act against the men that invaded and threatened their territories. Foresight of the dangers to the wider world, and indeed their own race, had not factored into the Children's minds.

To see yet another direwolf perish is regrettable, and also somewhat needless as he does not manage to do much damage to more than a wight or two. But by this point in the show, it also is more than expected. Whilst in some respects a mere animal, 'Summer' will be missed, as again part of the Stark legacy is lost. Now only Ghost and Nymeria remain amongst the living of this striking family of animals.

There is some scope for hope, at least. Benjen Stark, who seemed to have been killed off long ago in the show’s timeline, is back - albeit not fully alive. He had been saved by the Children at some earlier point in time. In a contrast to the creation of the Night King, his wound from a Walker was prevented from spreading, thanks to the application of dragonglass. The actor who originally played him is back as well, and this is welcome. 

Whilst the resolution of Bran and Meera's run from certain death come across as yet another fortuitous escape in this show, it still works well enough.  Plenty of fire, fury, and chaos is displayed in the woods/wilderness, and there is the extra edge of this following on from the bizarre back-and-forwards flashes of history that swirl around Bran’s consciousness as he is pulled on a sled. The transition from one old man ‘stuck in a tree’ (played by the incomparable Max von Sydow) to a still not fully adult man is set to be one of the major factors in the closing stanzas of Game Of Thrones. Benjen clearly asserts how his nephew is crucial to standing up to the Night’s King. But will his lack of being 'ready'  be too great an obstacle?

*

In perhaps a welcome change up from intensity and sadness, the theatre scenes in Braavos involve a brilliantly twisted telling of some of the major events in Seasons One to Four. Another variation of Ned is witnessed on-stage, and the Northerner’s most stupid characteristics are exaggerated, and made into his sole defining traits. This is painful for Arya to watch, but even worse is the way that the infamous beheading is rendered for entertaining the crowd; complete with an unconvincing am-dram fake head rolling onto the stage – and the crowd’s mirth at this reminds the refugee noble woman of just how tarnished the Starks’ reputation is amongst most of the populace.

The performances of most of the stage players are truly engaging - to fictional audience member and TV viewer alike. 'Sansa' is a bit part, and actress Bianca being encumbered with such limitations is truly bitter. 'Tyrion' is played as a straight-up villain, but the dwarf stage actor behind him, whilst equally confident in his prospects with women, is far less charming than the real deal. He seems to get on well enough with Lady Crane - who portrays 'Cersei' exquisitely.  Whilst Crane is clearly the best of the bunch, Bianca is determined to seize the ‘opportunities' she has been 'denied' - even if that means resorting to help from the Faceless Men. Richard E Grant does well as apparent ‘head of the company' Izembaro; a man clearly needy of a good crowd, and colleagues who do not complain of “small parts”.

Arya is still being advised by Jaqen to kill another mark, with the mysterious mentor clearly stating there is no 'chance' of evading this assignment just because Crane is a 'good' person. But the younger Stark lady sees someone who makes Cersei a lot more sympathetic than the real article (who of course is still firmly on her 'kill list), and is clearly hesitant. Eventually she defies her orders as an 'assassin in the making' and does not allow the alcohol she herself laced with poison to be drunk, going on to make it clear that Bianca had her own deadly designs in getting a 'better' role. The Waif is clearly delighted that Arya still has not committed to the different 'morals' of the House of Black and White, and finally she can cause more than just a little pain to her nemesis. However, 'Needle' had been safely in hiding, and now is set to be used as a weapon once again. 

*

Travelling briefly to Molestown from Castle Black, Sansa is contemplating how to turn the kidnap of Rickon and the Bolton control of Winterfell into a reversal of fortunes. It certainly will not be easy. A plan is currently in progress with Jon, Davos and others trying to rally forces together against Ramsey.

Having had Littlefinger re-introduced in a manner showing his supreme self-confidence, it is gratifying to see Aidan Gillen remind us of how human and weak this man can be. Memories are stirred of the excellent ‘Power is Power’ scene from back in Season Two. It is also a great moment for Brienne, who was dismissed in such an off-hand fashion as having a ‘record of failure’, when she first tried to serve Sansa. Since that embarrassing low point, Sansa has been through hell courtesy of her despicably sadistic husband. Still Baelish is no fool, and came to Molestown with both news of the Blackfish’s mustering of forces at Riverrun. Thus Sansa's Uncle could help both her and Jon. Furthermore - as seen already in Episode Four -  Baelish has secured the aid of the Knights of the Vale, and they are encamped back at Moat Caitlin. Whether Sansa trusts her long-term advisor and 'protector' to let her use these warriors to her advantage is kept somewhat unclear.

*

Some military advantage can sometimes mean nothing at all. And the High Sparrow has managed to render a (seemingly serviceable) scheme by the Tyrells and Lannisters  - to retake the City - as nothing but ineffectual. With the King taken into the fold, and the people of the capital convinced that the Crown and the Faith combined is the way forward, two noble houses are made to look clueless. Of course for viewers there had been enough build-up of Margery's seeming assimilation (but most likely this is just her being calculating), and Tommen had for some time now given Pryce's overseer zealot a lot of chances to pour propaganda into his regal ear. The exclamation mark for the Tyrells' lack of control sees Olenna spell out to her slow-witted son Mace just how conclusively the High Sparrow has ‘beaten’ them.

The story does nice work in segueing from Jaime's humiliation as a dismissed member of Tommen's Kingsguard, to still being deeply in love with Cersei (and vice-versa), to some build-up with the situation over in Riverrun; where the Kingslayer is certain to feature in coming episodes. It is welcome to see Walder Frey and his sons again after a long break. Also, it still feels relatively easy to re-engage with the characterisations and portrayals of these shameless and cowardly opportunists. David Bradley is once again note-perfect, and his take on Walder is distinctly different from his contributions to both fictional and semi-biographical Doctor Who.

More than halfway through now the show continues to do well with its many components. This season has had a lot of material to cope with; such is both the source substance of the novels, and its own myriad threads. These two centre episodes have done fine work on exploring themes of respectively loss, fighting to regain one's 'rightful' land(s), supernatural power, as well as a nicely meta take on some of the more memorable political moments of the universally well-regarded earlier years of the show.

3) Oathbreaker

4) Book Of the Stranger

STARRING: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Liam Cunningham,
Carice Van Houten, Natalie Dormer, Alfie Allen, Sophie Turner, Maisie Williams, Isaac Hempstead-Wright, Iwan Rheon
Aidan Gillen, Diana Rigg + Iain Glen 

WITH: Conleth Hill, Gwendoline Christie,
Julian Glover, Jacob Anderson, Daniel Portman, John Bradley, Dean-Charles Chapman, Hannah Murray, Gemma Whelan,
Finn Jones, Jonathan Pryce, Michiel Huisman,
Nathalie Emmanuel, Kristofer Hivju + Tom Wlaschiha

AND: Paul Rattray,  Ben Crompton, Joseph Naufahu,
Souad Faress, Hannah John-Kamen, Owen Teale, Art Parkinson, Anton Lesser, Natalia Tena, Faye Marsay, Roger Ashton-Griffiths, Ian Gelder, Brenock O'Connor, Hannah Waddingham,
Lino Facioli + Dean S. Jagger  

SPECIAL GUEST STAR: Max von Sydow (The Three-eyed Raven)

Showrunners + Producers: David Benioff + D.B. Weiss

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Game of Thrones is now available on DVD, Blu Ray
and streaming services worldwide

The latest series of one of the most successful genre adaptations ever continues to progress in fine style with this pair of episodes. A key theme of the show, which I will bring in to focus, concerns different types of power.

Influence, reputation, and status are one manifestation of power. Paramount to this working is the element of respect. Dany began the season in a rather precarious position, being bound and at the mercy of Khal Moro, who had seemingly taken pride of place in Dothraki society over her late husband Drogo.

Despite being the key character that signifies the ‘fire’ aspect of the ‘song’, the Targaryen heir is forced to reside with fellow widows of fallen Khals. But she promptly seizes on an opportunity to try and extricate herself from either a humdrum and subservient existence, or an undignified demise. Luckily for her, she has two strong and skilled fighters, both utterly in love with her, and both not far away.

The Mormont/Daario dynamic has developed in enjoyably tense fashion, ever since ‘The Rains Of Castamere’. Then, Jorah realised he would never be able to win his Queen’s heart, even with tenfold the military victories of his much younger rival. To see them have a brittle alliance, designed to enable the rescue of their monarch, is engaging and produces some nicely understated moments of humour. One example comes when Daario seizes on a spare weapon that he had concealed carefully, and without which Mormont may well have perished. It had gone against a previous agreement that should they be apprehended, they needed to have no weapons found on them. Further, they have to cover their tracks as they look to infiltrate Vaes Dothrak. Looking to ensure that there is no ‘spilt blood’, Daario uses a handy rock to mash a stabbed Dothraki to pulp; complete with evocative sound effects..

Dany’s charisma is enough to get at least one temporary ally out of the Dosh Khaleen - her fellow widows and prisoners - and perhaps her plan to switch the balance of power would have worked regardless. However it no doubt a massive help for her that her rescuers block the one means of escape for the Khals. This also makes her exit through the flames, at the close of Episode Four, truly a stand out. Emilia Clarke plays the confrontation with Moro beautifully. As he spits out one venomous threat after another, she calmly stares him down, before proceeding to demonstrate just why “none” of these savage men are fit to serve as leaders of their people.

Clarke has long since declined to appear nude in the show again. Consequently a similar effect to that used for Cersei’s 'Walk Of Atonement' is implemented. The vision of the flame-defiant Queen, walking out of the inferno she herself created, ensures she has every last able and willing Dothraki on her side. That only Mormont does not completely bow, but instead attempts to look Dany in the eye is a very interesting moment. Then the question is begged - what future does she envision for someone like him?

As the ‘Fire’ consolidates another part of her wider army and reinforces her status, up at The Wall, the ‘Ice’ also is exerting some gravitas. Thanks to being reborn, Jon Snow is able to make the Night’s Watch stand up and pay attention, and the same applies to the Wildlings who he had once fought against so bitterly. Melisandre declares that Jon was brought back by the Lord of Light, and therefore Stannis was not the ‘promised Prince’ that she had first thought. Despite this being such a huge event, the show manages to also bring some levity to bear. Tormund – who has always been a quotable supporting character – makes fun of Jon’s "pecker", in trying to play down any kind of godlike powers. Edd is rather more shocked, but his line of " Are you sure that is still you in there?" also entertains in deadpan fashion.

In Episode Two, one of the men to betray Jon met with a bloody end thanks to the giant Wildling known as Wun Wun. However, there are still three officers, plus Jon’s former steward Olly, needing a comeuppance. The direction is strong here as we are teased with the possibility that perhaps the Lord Commander will accept the boy was misguided, and offer him one last chance. Perhaps this really is the case, but without source material from author G.R.R Martin it is hard to be sure. In the event though, the one survivor from the village massacre in Season Four is still resolute; he feels he was justified to keep opposing the Wildlings, even if that meant stabbing his devoted mentor. He makes only a determined scowl in terms of a response to Jon’s offering of a final statement. This is notably different to the others who respectively show disbelief, a wish for his mother to hear a different story concerning his death, and a proud declaration that their actions were just and fair. The last of these three officers to speak up is Alliser Thorne, and his enmity with Jon had been very well developed from the very first season. Owen Teale did very well, in what could have been a simplistic role. Whilst the character is not likeable, it does feel a loss in a way to see him killed off. 

The moment when Jon actually carries out the joint death sentences is shockingly stark and brutal, and evokes the same cold dispatch applied to Janos Slynt in Season Five. The sudden cut to the faces of the lynched men is a very disturbing moment, despite this being a show full of death. The funereal feel to the end of Oathbreaker is compounded, as Jon relinquishes control of the Night's Watch to Edd; the last true brother in black he can count on, at this point. Whilst Jon has more status than ever before by surviving a lethal attack on him, part of him seems to have died that cold night at Castle Black.

There is also a more brutally obvious illustration of power and respect, as Arya continues to suffer at the hands of the mysterious 'Waif'. When she is asked about the Hound, it is confirmed just how conflicted she was, when she left the former bodyguard of Joffrey to die in the wilderness. However, Arya has suffered enough pain, and impairment to one of the five senses. To her relief, she is granted her normal eyesight again. Perhaps the show has been doing more with these confrontations with the Waif - and philosophical conversations with Jaqen H'ghar - than simply checking on a storyline so far away from most of the others. If that is so, then just how this will all play out remains to be seen.

The material back in Mereen itself moves quite slowly, as Tyrion and Varys continue their efforts to outwit The Sons of the Harpy, and perhaps also find out just who is in charge. Some elements of respect are at work, but mainly it is a chess game, where a number of key moves have yet to play out. There is no doubt some set-up going on, but the scenes never breath full life and seem to  be a waste of two great actors in Hill and Dinklage. Tyrion may have secured a tentative alliance with the main leaders of the absent Dany’s enemies, but he seems just far too confident by his normally calculating standards. It is almost as if the wine, and the altitude of the Great Pyramid, has really got to his head. Grey Worm and Missandei are sensible enough characters, but it just seems a bit contrived for them to be clearly onto something in pointing out Tyrion’s supreme over-confidence.

Power, in the sense of magical force, is most obviously featured in the way that Bran is trying to see the past actions of his father Ned. Thanks to the help of the aeons-old Three-Eyed-Raven, the second youngest Stark is able to be ‘present’ in another time zone, and even ‘heard’ by his father. It is truly welcome to see a version of Ned who was rather more upbeat and sure of himself, if admittedly arrogant here. Whilst Sean Bean’s portrayal of this pivotal character remains a highlight of the entire show, the character of Ned is still strong enough in his own right. These flashback scenes truly feel from a different period in time, and in Episode Three convey the sense of a kingdom being turned upside down with the Baratheon/Targaryen power struggle.

Despite his having supernatural power, Bran perhaps witnesses more than he would have liked. It transpires a combination of luck, and help from the injured Howland Reed, allows Ned to vanquish the “far better” Arthur Dayne in a swordfight. That the scene ends on a deliberate cutaway, concerning a Tower and the cries of Ned’s sister, begs the question when the resolution will come. After all, this is a show that has dragged out story arcs past more than a mere week or two many times previously.

Then there is powerful magic, that is suddenly granted to someone who previously had gifts of 'foresight', and the ability to help with an assassin in the form of a “shadow”. It is remarkable just how jaded Melisandre is, so far in this season. She clearly is an old soul (and a very old human as seen at the end of Episode One), and her questioning of Jon on what he saw works on several levels. The viewer is clearly aware of her weariness with life, and her concern she may have crossed a line in actually bringing a person back from the beyond.

Power can also be displayed through the almost intangible form of family ties, and love for one's relatives. It is a truly heart-warming moment when Jon and Sansa embrace - given their respective journeys. Yes, they had very little interaction in the early episodes of the series to begin with, but at this point with most Starks dead, missing or captured this feels like a justified moment of hope. Episode Four is quick to establish what an excellent dynamic these half siblings have together, and clearly more is to come in later episodes. It also shows how both Kit Harington and Sophie Turner have grown as performers. Loyal viewers can reflect how each has grown resilient, and able to survive the cruel reality of Westeros, with each passing Season.

The show perhaps missed a trick by not having a brief scene or two showing the difficult journey for Pod, Brienne and Lady Stark. Yet their tired and dirty faces perhaps invite the viewer to envisage their own mini-story privately. However, there has been plenty of excellent set-up for several years, with making viewers hate Ramsay. Thus Sansa’s urging to retake Winterfell will clearly drive on the season arc, as regards these characters.

In terms of family ties concerning the Lannisters and Tyrells, both dynasties remain frustrated by the machinations of the High Sparrow. Tommen and Cersei still struggle to have a setup that works for both of them, e.g. a simple visit to the resting place of daughter Myrcella, is made into a major obstacle for the Queen Mother. But later on, Tommen is able to notify Cersei that Margaery is due to face her own Walk of Atonement.

This is not the most welcome of news for the ‘Queen of Thorns’ (Diana Rigg), who already has found it galling that both her grandchildren remain in rags and in captivity. Clearly there is a need to deal with the High Sparrow and his minions, but the price may be steep. Olenna still believes it is worth it, and pragmatically proposes that the Sparrows be the main party to perish: "Better them than us."

When looking at this material set in Kings Landing, whilst it admittedly still revolves around political intrigue and family rivalry, sometimes it feels somewhat sparse. Although this latest season is doing quite well without any concrete source material, cracks can occasionally show. One example I can cite is a scene with the Small Council, where the Mountain’s intimidation of Pycelle (and others) was played for low brow laughs. This really should have been edited down, and the so-called humour kept for a ‘deleted’ DVD extra. It simply comes off out-of-place, considering how late in the ‘Game’ events are now.

More positively, the reunion scene of Yara and Theon Greyjoy is done very well. Whilst a bit of glossing over Theon’s escape from the forces of Ramsey and his allies is contrived, this passage of the show still offers solid drama, and character work. Initially Theon's sister is venomous in reminding him how he refused rescue (back in the middle of Season Four). But he eventually affirms that Yara "should rule the Iron Islands". This has added resonance, as moments before he was fighting back tears, in recounting the physical and mental toll Ramsey’s cruelty took on him.

And the new 'Lord Bolton' continues to unleash horrors of both immediate violence, as well as tactical intimidation. With these two episodes he has gained another ally in 'Small John' (Dean S. Jagger). This ally is notably brutal and cold, as well as unwilling to bend the knee. Whilst a small scene, in terms of being just another conversation, it still is a shock to see that Shaggydog, Osha and Rickon did not find long-term sanctuary. The kindly Umber who had backed Robb Stark has passed away, and his heir is nothing more than an opportunistic turn coat - betraying the people he had been entrusted to protect.

Clearly Ramsey will use Rickon as his main chess piece on the board to try and control Jon, but by also having a large percentage of the factions once loyal to Ned (and briefly also Robb), he clearly is the favoured party in the battle to come. Whilst Rickon's direwolf was put down off-screen, there is a rather disturbing on-screen exit for Osha. Despite being a capable fighter and streetwise, she just cannot outwit Ramsey, and she pays for it with a stab to the neck. 

The viewer hopes Rickon somehow will remain safe, but by the precedent of the show, it certainly does not look too promising.

Some of the more minor subplots in these episodes perhaps do not directly fit the three power categories. The journey of Gilly and Sam feels a touch like padding. The potential face off, between high-born Sam and his cruel father, however promises to bring some more involving drama to the show.

Whilst I pointed out the notable impact of the High Sparrow on the familial ties in the Capital, there is some rather ropey material for the very skilful Jonathan Pryce. He seems to be given screen time that delves into pointless back story. We know how he is mainly a fraud and confidence trickster. Whilst perhaps making viewers wonder if Margaery is under this fanatic's spell, there is rather too much evidence to suggest that she is just as scheming (if not more so). 

However, just the right amount of time is used to reintroduce Littlefinger, who has always been both memorable and well-played in equal measure. His quick manipulation of Robin Arryn, so as to scare Royce with the potential fate of the 'Moon Door, is a relatively brief scene. However it is beautifully played by all featured, and really puts the labored religious fanatic material at King's Landing into perspective.

On a final note, the music so far for this season has been superb. Some of the stunning material includes: Dany’s ascension in the flames, Jon's resignation as Lord Commander, the tension at the Small Council, and the chilling impact of Ramsey slaying someone that stands in his way.