The BBC, it must be said, really ‘gets’ period drama. It’s always been a cornerstone of Auntie’s output, and intrinsic to her DNA.  In recent years there have been a fair number of stabs at a ‘modern’ take on history-set adventure series, sometimes with a SF or sword and sorcery twist. Some of them designed to fill Doctor Who’s slot when it’s off the air. Some have been a Sunday evening affair. These shows have had varied fortunes, the more adult grit and faint steampunk flavour of The Musketeers works in its favour, but an earnest Robin Hood talking about Ethnic Cleansing? Not so much. Sometimes, the fantastical elements have been jarring. Sometimes they haven’t caught the public’s imagination, like the recently cancelled Atlantis, which tried to marry the same formula to myth and legend like the more successful Merlin.

All of these series have succeeded on some levels, but floundered on others. Robin Hood sagged because it was trying too hard to hammer home social relevance, when it was set in the Twelfth Century and people simply didn't talk that way. The Musketeers does well at the swashbuckling action and stylised depiction of the period, but doesn’t have an SF or magical angle. Merlin mixed various tones but didn’t really hit stride until several series in, when Arthur went from Prince to King and the tone darkened. Atlantis just didn’t catch on.

Based on its first episode, Jonathan Strange and Mr Norrell might just have finally got it right. It’s early days, and there’s six more episodes to go, but everything seems to be in the right place.

Adapted from Susanna Clarke’s epic novel by recent Doctor Who scribe Peter Harness (the man who gave the Moon a yolk), and helmed by by one of its finest directors, Toby Haynes - this is ambitious stuff. Set against the background of the Napoleonic Wars, it’s the story of a meeting of two very different magicians in an alternative Britain where magic has returned after several hundred years of absence.

Opening up North with a magic circle entirely comprised of people who don’t practice magic, the curious Mr Segundus meets dour, fearful magician Mr Norrell (Eddie Marsan) and his manservant Childermass (Enzo Cilenti), and leads his circle (“The most magical men in Yorkshire”) to a spectacular demonstration by Norrell which not only scares them rigid, but contractually obliges them not to practice magic. 

Having eliminated any possible competition, Norrell then relocates to London to offer his services in the war effort, but is quicky knocked back. He soon meets a vivid and scene-stealing cast of characters, menacing street magician Vinculus (Paul Kaye), preening would-be impresario Mr Drawlight (Vincent Franklin), and most fatefully – The Gentleman with the Thistle-Down Hair (A sinister and impressive-haired Marc Warren, possibly channelling David Bowie's Goblin King from Labyrinth). The Gentleman offers Norrell a bargain, a bargain that will doubtless lead only to bad things. Eddie Marsan gives an excellent, layered performance as Norrell - a gifted user of magic, and a man of some principle, but scared and flawed at the same time.

Meanwhile, likeable fop Jonathan Strange (Bertie Carvel) seeks a purpose in life whilst pining for his best friend’s sister, and is unexpectedly given it when he finds Vinculus under a hedge. The street magician recognises him (and also Norrell, who he's already scared half-witless in London) as one of two magicians named in a prophecy, and sells him some spells. It turns out Jonathan’s a natural. Carvel is great fun as Jonathan, a sort of cross between Withnail and Bertie Wooster. He gets far less screen time than Norrell, and the titular duo don't meet in this first episode, so it remains to be seen whether they have chemistry or not. I have a feeling from preview clips released so far that they'll complement each other nicely.

This is by turns witty, creepy, and visually stunning stuff. The pace is luxurious, and the script crackles with well-observed dialogue from Harness. The supporting cast is superb, with particular props to Cilenti's Childermass, (who looks wearily on the verge of hitting people throughout), Warren's lithe, whispering, malevolent Gentleman, and perhaps most of all - Kaye, who walks a line between sinister and cartoonish, but unsettles through his manic energy, and rants obliquely about a Raven King whilst still sounding believable. 

Haynes was always one of Who's more filmic directors, and he impresses throughout - good with a camera, and with some impressive set pieces up his sleeve - like the creepy arrival of the Gentleman, Vinculus's unsettling tarot card trick, and Norrell's animation of the stone figures that sends a whole magic circle of scared Yorkshiremen packing.

So far so good. Will it catch on with the public? Who knows? Ratings do the talking, but, based on this first episode, this is going to be seven Sunday evenings well-spent.

Note - This review does contain spoilers, and some discussion of the books' storylines.

"I will bury him. I will mourn for him... [but we will not go to war]"

"The Sand Snakes.. will avenge their father [unlike you].... [let me send Myrcella to Cersei] one finger at a time.."

"I loved my brother and you made him very happy. For that you will always have a place in my heart. But we do not mutilate little girls... Not while I rule"

- Prince Doran Martell arguing with Ellaria Sand.

There has been a lot of talk of Dorne in preceding seasons of the global hit fantasy serial; most notably when a select number of their people showed up led by Oberyn Martell. With the headstrong but charismatic Viper slain so memorably in last season's trial-by-combat, there are some immediate consequences that will shape ensuing events in this new season of the show.

Yet it may surprise many that this entire section of the Westeros map and wider society was at one point considered for the chop. That fate has befallen the potential developments that involved Balon Greyjoy's wider family from the Iron Islands. And other intriguing storylines from the fourth and fifth books in the 'Song of Ice and Fire' series also have been omitted or reshaped into pre-existing characters' arcs.

This is still thoroughly entertaining and engaging TV though. At some point the books were getting so elaborate in scope that even attempting two-thirds of all the storylines and subplots would be impossible. This show must concede that it has certain confines. Just ten episodes fill a season, running at fifty minutes; give or take a slither more, depending on what needs to be achieved on the weekly basis.

'Thrones' has reached a peak thus far in terms of audience reaction and following, with the premiere episode gaining around eight million viewers watching live transmissions in the U.S. But those viewers must have been somewhat surprised by the choice of flashback in the very first scene.

Rumoured flashbacks have persisted for a while now, with Ned Stark being amongst those that most tantalised. Charles Dance is named in the premiere's credits, and hoped to see the child version of Cersei interact with her authoritative father. No such luck as Dance is only required to lie in a state of 'rigor mortis', his eyes covered with painted stones. The past memory we do get is still important though, and gives some real context to the Queen's politicking thus far. More specifically it builds on the cat-and-mouse game of wits and plotting between her and Margaery, who has been looking to supplant Cersei as monarch ever since the finale of season two.

As for the man who played his part in King Robert's demise, a lot has changed since he last crept off-screen during the sublime 'Blackwater' episode. Cousin Lancel is now no longer easily cowed by harsh words and dismissive looks, and has a new direction in his life - religion and prudence. His hair is short, and he seems to have a focus and sobriety that would deter even the most powerful of harpies (should such creatures exist in this fantasy realm).  Uncle Kevan is also back, albeit only briefly. He now seems to recognise that he has the power in Casterly Rock, and rightly see's his niece's authority in Small Council meetings as losing solidity. A very good performance from returning Ian Gelder, but one that is brief for plot reasons that make perfect sense, 

And in general King's Landing feels an oddly sterile and empty place nowadays. Even with Tyrion in chains for  much of last year, he still made a massive contribution to proceedings. Now he is missed. King Tommen may  be a likeable lad but he quite frankly lacks either his uncle's or his grandfather's charisma. The absence of  Lady Olenna is somewhat noticeable too, as she was played so well by Diana Rigg. I still can hope that she will  be called in by one of her grandchildren to dispense more brilliant and forthright advice. And of course now  Jaime and Bron have left the city as well, in order to try and rescue Myrcella. As the quoted dialogue shows,  she is far from being safe nowadays.  

However Qyburn (Anton Lesser) has seemingly graduated from a minor character to one having  notable influence. He takes advantage of the latest bungled attempt to return Tyrion's head to Cersei, and there  are some strong indications that someone assumed dead not so long ago, may be under the care of this very  strange 'maester'.  He also now has a seat at the Small Council and that will infuriate Pycelle (Julian Glover  - brilliant in this role). Despite putting on a front of frailty the old Grand Maester is still relatively spry, but he may  have to readjust his game plan if he wants to make a mark in any seasons that follow this one.

So what can we say that is new concerning Tyrion (once again played by top-billed Peter Dinklage)? His departure from the capital in the preceding finale saw him return to being a traveller who must decide which people he meets will aid him and not betray his confidence. For now he must rely on the supremely wily Varys. Their interactions play out almost like a buddy movie; another sign of 'Thrones' transcending its dungeons-and-dragons stereotype label. Both men can produce come-backs without barely mustering any visible effort and the result is TV gold. It also helps that they are both in a beautifully sunny part of Pentos, and free to drink wine and gaze at the Narrow thanks to the hospitality of Varys' associate Illyrio Mopatis. There is also a terrific establishing 'point of view' sequence as Tyrion's tiny box/home is carried around shakily from the ship he escaped on. Lovely direction from Michael Slovis and his team.

But being free to walk and talk again cannot hide the fact that the former Hand of the King is in a dark place mentally and totally unable to forget the way he murdered treacherous lover Shae and bullying father Tywin. How this impacts on Tyrion's actions in later episodes and events to come will be something to anticipate keenly. My only issue with the subplot is that once episode two checks in on these two in their carriage, there is no energy or revelation. It feels a waste of two first-class actors in Dinklage and Conleth Hill.

One cast member who has really grown on the show and continues to do so is Kit Harrington. His Jon Snow character has gathered considerable momentum for some time now. Admittedly he barely registered with me in the second season (with flame-haired Ygritte stealing the show), and was also somewhat handicapped by the Night's Watch scenes being oddly static for much of the original season. 

Nowadays much enticement is generated by having all of Stannis' court and army, plus the nefarious Red Woman. This section of the show is a real treat. Davos is also still firmly at 'King Stannis' side, and being as measured and wise as ever. Liam Cunningham is such a terrific actor who never makes the audience feel they are watching a performance. Most of us surely want him to be around till the final stages of the entire run. Stannis himself is still brusque, dour and lacking in that intangible that all great rulers have. But Stephen Dillane is very good in developing this role and his acting chops are more than sufficient, as various dynamics play out with the surviving Baratheon's family, advisors and those he aims to rule over.

The striking end of Mance Rayder is a good move arguably for the show, even if he was played by a particularly talented actor from a cast that has few weak links. He may have briefly survived season four's finale with some dignity, but his determination was never going to keep him alive for much longer. His hope for the Wildlings to be living south of the Wall was his prime intent, and without concessions - quite  unacceptable to the unflinching Stannis. Jon's actions in sparing Mance a horribly painful death are a further development of his man of action and add more requisite gravitas.

And Jon's heroism and decisiveness in last season's key set piece battle are now bringing dividends. Stannis knows he needs this man very much on his side. Jon eventually is voted in as Lord Commander proper in a snappy, engaging sequence set in Castle Black. Yet the eldest of Ned's surviving sons knows just what a poisoned chalice leadership and authority can be. His reserved response to the vote's outcome ties in strongly with the show's key themes.

On the opposite side of the map is the storyline concerning Queen Danaerys' court, which of course has banished Jorah Mormont. I was far from overwhelmed with the various political intrigues and soap opera romances set in Meeren last year on the show. But maybe things are picking up quickly now, as 'Khaleesi' must make some difficult decisions and risk alienating her devout citizens. Although the Unsullied are an awesome fighting force on a battlefield proper, they are beginning to look a little restricted in more intimate surroundings. One of their number tries to find a substitute mother figure in the shape of a prostitute, and pays for it with his life. Eventually one of Dany's newly installed council takes the law into his own hands and avenges the murdered warrior, and this boldness is punished by a public beheading.

Rather clear parallels are drawn in showing how Stannis' and Danaerys' courts are both alike and unalike simultaneously. Choosing to end back-to-back episodes in similar fashion is ultimately a smart idea, although the second instalment does have a fine coda in the fleeting return of the renegade Drogo. Dany still loves all of her three dragons - the other two remain imprisoned - despite all the devastation and death Drogo in particular has caused.

Moving onto one of the more unpredictable pairings of the show, I will discuss next Littlefinger and Sansa. Further stark deviation from the source material is notable. Sansa clearly trusts Baelish despite all of his ruthlessness and self-serving plotting. He clearly loved her mother and sees her as another in that mould.

It remains open to interpretation just what Brienne achieves in demanding that the elder Stark girl come home, on the wishes of the late Catelyn. The entire section in the tavern does feels forced and indeed far-fetched. Despite being performed and presented well on-screen it seems to ignore the reality of Westeros' scale as a kingdom. The chance meeting with Hotpie that set Brienne on her way to the Eyrie last season felt rather more natural. Luckily the show turns its fortunes around immediately with the strong set piece in the courtyard and neighbouring woods. Brienne's slaying of Littlefinger's lackeys is exciting and pleasing, as is her timely rescue of ever-faithful squire Pod who had struggled to fend for himself  

For now I will leave a proper exploration of Arya's new storyline for next time, but she certainly makes an arrival in Braavos in style, looking ever more like a fully-fledged (if somewhat diminutive) woman. Her determination to gain entry to the eponymous 'House of Black and White' draws the viewer in, and Maisie Williams has lost none of her poise. A lot of things have gone right in this young lady's career. She has proven her range in several TV shows and even a feature film proper in 'The Falling '. I am also sure that all 'Doctor Who' fans will not miss her two episode debut in Series Nine later this year. 

A lot of characters have now been written out, and only a smaller proportion have been introduced but this epic still demands full attention from viewers.  By the same token it is thoroughly re-watchable and never fails to provide a twist or two. As grim as much of it seems, there is plenty of wit and dark humour to prevent even the slowest episodes from feeling like a drag. Must-watch entertainment.

“When I first met Vila, he said he planned to live forever ...”

“I believe his precise words were that he planned to live forever or die trying! Let us hope he hasn’t tried too hard!”

Cally and Avon, Blake's 7: Mindset  

As the Liberator crew continue their search for missing crewmate Dayna Mellanby, the middle chapters of Big Finish’s latest series of Blake’s 7 full cast audio dramas head more into the fantasy realm that were the staple of some episodes in the original TV series’ third season (the latter part of which these audio tales are ostensibly set).

Indeed, BF producer Cavan Scott states in the extras for the instalments Mindset and Ghost Ship that there was a conscious effort to revisit the tone of some episodes from that season, such as Tanith Lee’s Sarcophagus, which had a spooky, ethereal quality to them. This is a brave, calculated risk on the BF production team’s part, as the more fantastic episodes of B7’s original run aren’t fondly remembered by fans and some are to this day still scorned by them. While Sarcophagus may be remembered as an exceptional piece of fantasy (I don’t count myself as someone who thinks it’s an especially classic episode), B7 had its share of clangers when it tried this genre as well (eg The Web, Deliverance, Dawn of the Gods, Ultraworld, Rescue). Further, B7 is better remembered for not just its hardcore SF element but also for its realpolitik intrigue and suspense (no self-respecting TV program would want to be fondly remembered for episodes like The Web!).

Mindset has been written by long-time BF scribe Jacqueline Rayner – again a deliberate choice by Scott to rekindle the spirit of Sarcophagus through a female writer. It’s a good decision, as Rayner writes for all of the regular characters extremely well, especially Cally (Jan Chappell) who plays a fundamental role in the story. Of course, some long-time B7 fans may still groan at the story’s formula, especially as it involves another Auronar telepath, Reno (Geoffrey Breton). In the TV series, Cally-centric and fantasy episodes (often the one and the same thing) would almost by rote exploit the character’s susceptibility to other telepathic influences, often involving other kin from Auron or villainous god-like telepaths that inspired Auronar culture. BF’s B7 audio series also hasn’t shied away from foisting new Auronar characters upon its listeners either (eg Gustav Nyrron). Fortunately, Rayner delivers a story where Cally is strong and steadfast whilst all of the other crew members are subdued or compromised. Jan Chappell takes full advantage of the opportunity to display Cally’s courage and compassion. Indeed, if it is not for Cally’s heroism, the Liberator crew would not survive at all. Ghost Ship is inspired by the premise of what happens to the unlucky crew member that has to sit on teleport duty for the course of an episode – a task that was all too often foisted upon the female contingent of the crew in the TV series. In this episode, teleport duty falls to Vila (Michael Keating) who subsequently finds himself haunted by mysterious apparitions aboard the Liberator while Avon (Paul Darrow), Cally and the rest of the crew teleport planetside to meet with a crime syndicate that may have information about Dayna. The listener therefore is privy to Vila’s superstitions and worst fears, as Keating virtually carries the narrative solo for a good 20 to 25 minutes.

Unfortunately, it’s still not the most engaging or dramatic sequence in Iain McLaughlin’s script – Vila inadvertently locking himself in a storage room and tripping over crates and other equipment, all while muttering obscenities at himself, makes for as boring listening as it would for dull visuals on TV. Fortunately, in spite of the material he has to work with, Keating’s performance is outstanding - he continues to play Vila effortlessly, with a combination of enthusiasm, customary dry humour and Vila’s propensity to panic.

Both episodes, apart from being heavily fantasy-driven, also play with Vila and Cally’s psychological make-up. Cally, who is one of the last of her people after the tragic events of the TV episode Children of Auron, craves the mental contact and affection that is only possible with another telepath and in Mindset is even momentarily tempted by an offer from Reno that would create a permanent union between them. Vila’s psychology is exploited throughout both episodes for entirely different reasons. In Mindset, Vila is drawn to the planet Karwen because Reno is able to exploit his greed for the fountain of youth. Once he is submerged, Vila is content to be left there because he doesn’t believe he is respected by the crew anyway; when he is revived, Cally urges Avon, Tarrant (Steven Pacey) and Grant (Tom Chadbon) to remind him that he is indeed a valued contributor. In Ghost Ship, it is precisely because of Vila’s reputation for cowardice that he is left behind on the Liberator. However, Vila is, as we see in this story and other B7 releases, more resourceful, clever and courageous than his allies and adversaries give him credit for. Indeed, it becomes clear later in the story that Vila has been left aboard the ship for good reason – precisely because he can be relied upon in a crisis, not necessarily because he is untrustworthy.

Mindset also plays with the view held by long-time B7 fans that there is a romantic connection between Cally and Avon – which is constantly denied by the latter. Indeed, Avon’s apparent coldness and disdain for other members of his crew across both episodes, including for Vila, Tarrant and Dayna (whom he argues he is only intent on recovering because she could, under duress, reveal intelligence about the Liberator and its crew) also hides the doubtless affection he does feel for members of his gang. On the other hand, he also seems happy to play dangerous games with their lives in Ghost Ship – which hardly makes him endearing to his shipmates. Mindset is the better of the two B7 instalments, mainly as Jacqueline Rayner gives all of the main characters decent air time and dialogue and tells a story that could have been plausibly done on TV. Ghost Ship, by comparison, relies too strongly on the audio medium to provide a spooky and (for Vila at least) a claustrophobic feel. It doesn’t quite work as a full cast play precisely because it doesn’t really need a large cast. In fact, the story would have worked more effectively as a Liberator Chronicle, given much of the story is dedicated to Vila’s trials on the ship and the other characters (with the exception of Avon, Orac and Zen) are only present in the first and last quarters of the tale. As a result, Chappell, Pacey and Chadbon are wasted in their roles.

As the middle chapters of this six-part series, Mindset and Ghost Ship are entertaining in parts, with plenty of humorous and eerie moments, coupled with Big Finish’s consistently high production values. However, as fantasy-based tales, they are, like some of the original TV serials that inspired them, lacklustre instalments. As mentioned above, B7’s strengths as a TV series were its hardcore SF/realpolitik morality tales which explored the main characters’ heroism and flaws and the impact their exploits would have on the political system they were trying to overturn. The next instalment in the series – Devil’s Advocate – promises a return to that more traditional format. It will also be interesting to see how the “search for Dayna” story arc develops as it nears its conclusion (after some more hints in Mindset and Ghost Ship) and whether some other hints in Mindset may have an impact in wrapping up this particular series of adventures – or if they will create angst for the crew in a future micro-season of B7 full cast audios.

Having been a fan of the re-imagined TV version of Survivors which ran between 2008 and 2010 and never actually watched the original 1970s version I ought to have had very few expectations for this boxset except for the fact that upon release last year it garnered many favourable reviews. This series of audio adventures is designed to sit alongside the first series televised in 1975, written by Terry Nation. The first episode, Revelation, by Matt Fitton introduces a host of new characters in a story which vividly brings to life mid-70s Britain with its typewriters and telephones where the computer age has yet to arrive. Listening to a story full of people falling ill and in most cases dying is perhaps not to be recommended if, like this reviewer was at the time, you are feeling unwell and this may perhaps have explained why I didn’t much care for this first episode. Some of the performances such as Terry Molloy as Redgrave work very well but I’m afraid I found the American character Maddie Price (Chase Masterson, who seems to be becoming as ubiquitous to Big Finish as Beth Chalmers) to be rather grating although she did improve in the second episode.

I am however glad that I persevered with this boxset. Exodus by Jonathan Morris introduces Louise Jameson to the proceedings. Her performance as Jackie is a revelation and brings some much needed sympathy to the proceedings. In the meantime, the focus shifts onto the emergence of a colony at Feltham College headed by the sinister former lecturer, James Gillison (brilliantly played throughout by Adrian Lukis). This story also sees the first intersection between the new characters and the original series with a welcome cameo from Lucy Fleming reprising her role as Jenny Richards.

The third episode, Judges by Andrew Smith, moves events on several months from the initial outbreak of the epidemic to a point towards the end of the 1975 series. Opening with a scene featuring three of the original series characters – Greg, Jenny and Abby – it sees Greg and Jenny head towards the outskirts of London to look for supplies. This brings them into the web that has grown around Gillison and his colony in Feltham and thus reunites them with the other new protagonists. As the story progresses the apparent truth that Gillison is increasingly paranoid and clearly believes that his ruthless actions such as judicial murder are justified. The scene is set for a suitably explosive finale.

Esther by John Dorney picks up the story from the end of Judges with all the protagonists finding themselves held in virtual imprisonment within Gillison’s colony. There are some neat twists of characters switching sides but the end result is a satisfying if somewhat grim conclusion to this boxset. Despite some initial misgivings, the second half of the box set was a particularly enjoyable, despite the original series characters inevitably sounding slightly older than they were in 1975. There certainly seems to be a rich seem to be mined of new stories for these characters, even after forty years. I will be looking forward to the second audio series, particularly as this offers the prospect of a more prominent returning role for Carolyn Seymour as Abby Grant.

“Unconscious – for the second time in two days! Blake isn’t paying me enough for this! Come to think of it, Blake isn’t paying me at all!”
Avon, Blake’s 7 – The Liberator Chronicles 10.3: Ministry of Peace


In the last year, Big Finish’s Blake’s 7 audio adventures – both the full cast dramatisations and the narrative tales  – have largely occurred in the latter thirds of the TV series’ second and third seasons, both before and after the titular hero departed the Liberator. Volume 10 of The Liberator Chronicles returns listeners to the program’s first season, certainly before the Liberator crew acquired Orac and long before Gan’s death in the second series.

The three serials – Velandra, Retribution and Ministry of Peace – carry a common, underlying theme of rebellion. The Liberator either visits or is drawn to worlds which are either actively resisting or whose independence is threatened by the Federation. This loose thread is window dressing for some quite diverse stories, particularly in terms of the styles of narration. Velandra is predominantly told from Blake’s (Gareth Thomas) point of view, coupled with exchanges between him and arch nemesis Travis (reprised by the original – and for many fans the best – actor Stephen Greif). Vila (Michael Keating) recounts the events of Retribution, with Avon (Paul Darrow) playing a substantial role in the story. Ministry of Peace is largely told by Avon, with Darrow doubling for numerous characters and only getting a breather thanks to some interludes involving Servalan (Jacqueline Pearce).

Velandra provides a tantalising glimpse of Blake’s history as a rebel before he was reconditioned and sentenced to exile on Cygnus Alpha. That history is captured in the form of a recurring nightmare that involves a young woman, some cybernetically-augmented wolves and Travis. Steve Lyons’ script seeks to challenge not just Blake’s sanity but also the listener’s logic. By the end of the tale, you are left wondering just how much of Blake’s story is truth and how much of it is delusion. If this were a one-off political thriller, there might be good cause to agree that the protagonist has an overly vivid imagination and that his experiences are an elaborate hoax. However, when you as the listener have extensive knowledge of the larger space opera TV series that this serial is based on, then the question of what is “real” or “true” is a moot point.

Lyons, however, does make the listener think about Blake’s personality type. Given how driven, determined and idealistic he is, could it have been possible that Blake even early in his campaign against the Federation succumbed to paranoia and zeal? It would certainly explain why he was so easily influenced in the episode Voice from the Past (1979) and was also so fanatical at various times in the second season. It could also possibly account for his uncharacteristic behaviour in the TV series’ final episode (Blake, 1981).

Retribution is the weakest and dullest of the three plays. It’s a “by the numbers” B7 episode, typical of mandatory episodes from one season to the next when the protagonists would run into gangs of outlandish criminals like themselves, just without their sense of honour or moral compass. Episodes like Bounty (1978), Shadow (1979), City at the Edge of the World (1980) and Stardrive (1981) all had their fair share of colourful, crazy undesirables who met grisly ends (eg Tarvin, Largo, Bayban, Atlan). In this tale, Vila and Avon are pitted against underground figure Niko Clent (also voiced by Michael Keating) and his accomplice Ragnus Lang (John Banks), a contemporary of Vila’s when he was in juvenile detention. However, given the chief antagonist’s motives for wanting Vila’s head are at best spurious and Vila is already saddled with enough guilt and cowardice to compensate for his criminal lifestyle, then Andrew Smith’s script is a disappointment. Clent is a bland villain, even for a serial with a makeshift cast. Retribution’s one saving grace is, of course, Avon. Darrow is able to make Avon come alive on audio, regardless of the script’s quality, and there is no doubt that even though he isn’t the “star” of this serial, he puts in an authoritative performance that demonstrates Avon’s initiative and skills in the face of danger. The epilogue to the story is more interesting than the actual tale; in the TV series, Avon and Vila were a great “odd couple”, the former’s intellect supplemented by the latter’s talent for larceny, until Avon almost did the unthinkable in the episode Orbit (1981) and pretty much poisoned that “bromance” for good. This tale similarly explores the ramifications when Avon takes affairs into his own hands, robbing Vila of the ability to think for himself. Sadly, it is only a small part of the tale.

Ministry of Peace is undoubtedly the highlight of this latest Liberator Chronicles trilogy. Even though the bulk of the narrative is virtually delivered solo by Darrow, he puts in a superlative and dry-witted storytelling performance. It also helps significantly that Una McCormack’s script is extremely well plotted and contains numerous twists, both in the middle of the story and also at the conclusion. McCormack captures Avon’s personality perfectly, his narrative and dialogue dripping with irony, suspicion and sarcasm in all the right places – and no doubt assisting Darrow’s performance enormously. Jacqueline Pearce is also magnificent as Servalan, featuring in only a limited capacity and even then literally acting on her own, eg the story starts with her barking orders at Space Command and replying to silent, yet predictable, conversations out of our earshot. Later she is portrayed delivering a speech to the Federation Council, ably supported by a soundtrack of at first quarrelling and then cheering politicians.

Ministry of Peace probably bears more resemblance to B7 episodes in later seasons than a first series episode, especially as the conclusion to the play shows the Liberator crew once again being thwarted by a realpolitik outcome, despite their best efforts to support a world seeking its freedom of the Federation. Of course, given Avon himself is more of a pragmatist, a realist and a cynic than the more idealistic and romantic figure of Blake, the conclusion comes as little surprise to him at all.

The Liberator Chronicles#10 is overall a decent addition to the B7 pantheon. While this trilogy probably is not as strong as some of the more recent Liberator Chronicles instalments (eg Spoils, President, Defector), Velandra  and Ministry of Peace are well worth a listen. In any case, all the performers acquit themselves well, and Big Finish’s sound effects and incidental music in all three plays continue to be as faithful to the original TV series as possible.

“Triffids. The Great Blinding. Together they created the most destructive event in human history. Billions died. Cities fell into ruin, civilization collapsed"

 

This release continues the narrative of 'Day Of The Triffids' 25 years down the line. In a new adaptation of Simon Clark's original novel from 2001, David Masen encounters all forms of danger and intrigue. Whereas his father Bill was the hero of the first story, this revolves around David's life as a fully grown man and his growing realisation of how humanity has been changed in a startlingly bleak manner.

A lot of action and location changes feature, without the narrative ever losing too much focus. The action begins on the Isle of Wight. A small colony of survivors must both combat the diabolical carnivore plants as well as build some kind of substitute civilisation. If things were not grim already then now the Triffids have a new way of  slowing down humanity - night is constant, and daylight looks like it will never return..

Along the way the hero encounters an island where Triffids run amok, but also a wild girl called Kristina, who has been living alone for far too long. Then he falls in with an American scientific expedition consisting of the beautiful zoologist Kerris, as well as Rory Masterfield (a geologist), and Gabriel Deeds (a botanist). Before long events reach fever pitch as an exploration of Manhattan reveals grim breeding camps and barbaric treatment of those women who object to the oppressive regime under General Fielding.

In terms of stars the biggest draw to this release for Doctor Who fans is Nicola Bryant, who is given plenty to do and some more to spare, with three named roles: Kerris, Marni, and Rowena. Her familiar American accent is also present, if subtly different for the sake of character origins. Also, Sam Troughton - son of David, and grandson of the much-missed Patrick - takes centre stage as Masen. He has the major perk of  being both the narrator and the chief protagonist. The key human antagonist Fielding is played with true relish by Paul Clayton; his talents also being used for the much more benign Bill Masen.

Direction from John Ainsworth is difficult to fault, as the tension from one source of danger to another is always fully conveyed to the listener. The revelations about the different sections of humanity which have their own loyalties and ethics is as much of a draw as the various physical perils that Masen faces. Music and sound effects are very impressive and help keep the persistent narration from falling into routine. Martin Montague has devised a very memorable effect for the dreaded Triffid stinger, as well as for some other aggressive life forms that rear their heads late on in the narrative,

Whilst this is one of the darker offerings from Big Finish, this is certainly a positive and shows due faithfulness to John Wyndham's vision and themes. The play's title also refers to the vast majority of society being rendered blind, and whilst disturbing it offers opportunities in the audio medium that are well-executed.

Although a decent enough amount of the human race persist after the landing/invasion of the remorseless Triffids, the society and reality they must negotiate is anything but rosy. There is also enough suggested that the crises facing man are as much of his own making as of such terrifying alien interlopers. Despite much suffering, heartache and disappointment the play does have an arguably optimistic conclusion.

As Clark has so far not produced a continuing entry in the book franchise, there remains the possibility that Big Finish could take the initiative in progressing the story again, as the overall scenario has not been tied up in a neat little bow.

 

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The documentary section certainly covers the making of the story in very comprehensive detail and allows all the key contributors in the cast to explain their acting choices, e.g using certain accents and the reasons for them having a particular impact. It succeeds in answering most questions the audience may have, although perhaps as a continuing listening experience lacks some of the flow of the main feature. There is also heavy re-cycling of the musical soundtrack as interviewees give sometimes drawn-out answers. Having just the one story and thus limited character development to discuss means this is a notch below the fine Counter-Measures extras, but it is still worth your time.