The Martian Invasion of Earth (Big Finish)

Producer David RichardsonScript Editor Matt FittonExecutive Producers Jason Haigh-Ellery and Nicholas Briggs

Written By: HG Wells, dramatised by Nicholas BriggsDirected By: Nicholas Briggs

Cast

Richard Armitage (Herbert), Lucy Briggs-Owen (Amy), Hywel Morgan (Curate), Ewan Bailey (Daniel), Richard Derrington (Ogilvy), Helen Goldwyn (Agatha), Christopher Weeks (Edward), Benedict Briggs (Boy), Nicholas Briggs (Martians / First Officer). Other parts played by members of the cast.

Available to order from Amazon UK

The last in Big Finishes series of H.G Welles adaptations, The Martian Invasion of Earth is of course a version of Welles’s magnum opus The War of the Worlds. The story has something of a history on Radio with Wikipedia stating fourteen broadcast versions. Most famously Jeff Wayne created a wonderful musical version starring Richard Burton (later re-recorded with Liam Neeson) and Orson Welles panicked America with his 1938 Halloween broadcast. Admittedly I was intrigued to see how Nick Briggs would handle what he stated was a ‘pet project’, when the story has been done many times and done well. I needn’t of worried however, with Briggs achieving that very rare mix of an adaptation that pushes it’s source material into new and interesting directions, yet allows it to be faithful at the same time. Not only that but he manages to rival the Orson Welles version in how utterly frightening it is.

Richard Armitage stars as Herbert Welles (not the first time one of his unnamed characters finds themselves taking their creators name in an adaptation) and it is partly his wonderful performance as a man struggling to keep it together in the face of a terrifying event that lends the play its horrifying power. By adding an extended role to the narrators wife (more on that below) this version works rather wonderfully as a love story. Briggs shows us how the narrator puts on a front for his wife, showing bravery before silently creeping away and sobbing. Armitage makes these moments truly horrifying and it is with this human factor that the play really succeeds.

The most startling change implemented by Briggs is the extended role he has given to the protagonist’s wife. In the original novel, the character disappears somewhat early on, only to miraculously reappear at the end. The tome is certainly a mail orientated one and our hero meets no significant female characters. Period adaptation or not, Briggs appears determined to make this adaptation current and thankfully that includes a strong and respectful female role. ‘Amy’) as she is called in this version) is played by Lucy Briggs-Owen who gives a powerful performance and has wonderful chemistry with Armitage. Briggs appears to have invested much time in her character, allowing her to become a wonderfully rounded character. At times she feels of the period and beyond it, having much to do and making meaningful decisions. Coupled with Briggs-Owens acting, she’s one of the highlights of this version.

Nick Briggs script also includes several interesting moments of commentary concerning some of the socio-political subtext featured within the novel. This includes interesting moments of discussion concerning colonialism, militarism and religion. At times this is somewhat heavy handed but for the most part it’s effective and certainly allows this version to be current and meaningful.

Ian Meadows provides incredible sound design, helping the audio to fully capture the feel of a full scale onslaught with a very small cast. His version of the Martians war cry, is terrifying, particularly when listened to through headphones and mixed with the sounds of screams.  The soundtrack is similarly effective, a mixture of bizarre sounds and an epic feel adding to the chaotic atmosphere. Unfortunately it is let down by some ‘bombastic’ moments early on that don’t quite fit with the intimate nature of the horror as portrayed in this version. Thankfully these moments are brief and less frequent as the play continues.

For fans of the novel, they really can’t go wrong with this version. Alongside Jeff Wayne’s musical and Orson Welles 1938 version, this has to be one of the best adaptations of the novel. Nicholas Briggs really has outdone himself and along with superb performances from Richard Armitage and Lucy Briggs-Owen create a masterpiece and one of Big Finishes best.