Starring: Trevor Baxter, Christopher Benjamin Also Starring: Conrad Asquith, Lisa Bowerman, Geoffrey Whitehead, Francesca Hunt, Keith Bartlett, Adrian Lukis, Nancy Carroll, Timothy Speyer, and David Timson
Written By: Jonathan Morris, Matthew Sweet, George Mann,Justin Richards,
Director: Lisa Bowerman,
Sound Design/Music: Howard Carter,
Cover Art: Alex Mallinson,
Producer David Richardson,
Script Editor Justin Richards,
Executive Producers Jason Haigh-Ellery and Nicholas Briggs
The pattern opted for by the team of Justin Richards, David Richardson and Lisa Bowerman is one where each story is linked, but the degree of which varies. Of the four, the second story would need the least amount of rewriting to stand completely on its own. The opener sets up some short-term and long-term consequences for the set but mostly wraps up the immediate loose ends with elegance. Finally the third and fourth escapades are very closely linked to one another and best appreciated with some awareness not only of the character of the Colonel (Geoffrey Whitehead) but also some basic understanding of Torchwood. Yes, the organisation that was teased out by Russell T Davies, and got explicit mentions of being set up by Queen Victoria in Tooth And Claw, plays its subtle role in these stories. This major continuity decision helps makes what is by now a well established series of original audio have a slight re-calibration in its mission parameters.
Our regulars are as good as ever, and none the worse for having been fish out of water in the very enjoyable Series Five. We have a fine collection of both one-off and recurring virtuous aiders and abetters, and dastardly immoral riffraff - sometimes the listener being sneakily wrong footed as to which camp the pathologist and theatre owner should assign those people they associate with.
The Skeleton Quay is a thoroughly evocative and well-plotted story to remind us of the many pluses a seaside setting and a mystery have to play in the audio medium. With Jago and Litefoot separated relatively early on, they must to try and deduce just what is actually going on around them, and what may be the cause of all the unrest. The dramatic hooks sink in almost without one knowing it. Lisa Bowerman makes her team put a wholehearted effort and that reaps fine rewards: good sound effects and moody original music that is right on the money.
Return of The Repressed takes some of the consequences for Jago from the previous romp and goes in some very unexpected directions. Now, it is always a good thing when the producers decide to shake a formula up a bit and try out some new things. I just cannot quite decide whether this crosses the fine line between over-stuffed, and brimming with one striking idea after another. This is certainly a character piece, and the conventional beginning middle and end do sometimes feel rather muddled together. The turn of Adrian Lukis as renowned psychoanalyst Sigmund Freud is a much more successful portrayal of a foreigner with a heavy accent than some from previous plays. Despite being framed in a comic manner, the written character also has enough meat on the bones to not just be a stereotype. The main female role is very well done, and her exact status being revealed and its significance for our intrepid duo is a great twist. The bookends of a musical do evoke the splendid fourth episode of The Talons Of Weng Chiang (which of course was just one of six triumphs).
And after two enjoyable stories, this series really kicks into gear for the second batch. Military Intelligence is very focused in delivering drama and suspense, and also feels like it has more to say about Victorian society and the British national identity. The Colonel's more fleeting role in the series opener is considerably expanded here (although he was perhaps carelessly forgotten about in the second story). Now we start to see that he is perhaps not all he seemed, and the way Jago and Litefoot respond to this new situation is of major interest. The different tracks come and go on for the listener at a rollicking pace, and there is a great mechanical monster involved which needs little effort to visualise. Great reactions, spoken descriptions and sound effects all add up to a strong climax, and yet the main story has only got to the halfway point; seguing with the arrest of Litefoot for a most serious offence.
Hence, The Trial Of George Litefoot. No dawdling here. One exciting development follows hot on the heels of the current one. The victim of murder, which Litefoot is accused of being solely responsible for, will surprise many. But that is one of a number of well-thought-out twists. Courtroom scenes are played out nice and snappily, and the entitlement of George as he languishes in a jail cell wanting better provisions is achieved so as to make him flawed but very human and relatable. Whitehead's Colonel is contemptible but has that touch of class at the same time to make him the type of Victorian villain akin to the original Master. Other wicked collaborators also come off as well-conceived and make the stakes feel suitably high. In the end our duo manage to show the right ingenuity to foil an assassination plot, and yet they still pay a heavy price. The whole cosiness of being home is again eschewed, and in such a manner that our heroes may never quite have the affluence and security they worked so hard for again. Series Seven will be very interesting listening..
Bonus Material:
Once again Big Finish pays some nice airtime to showing just how fun a working environment is enjoyed both by the old established guard, and anyone else joining in for the first time. Some newcomers to sci-fi itself share their excitement at being signed up. The interview material is very organic and barely feels like the artifice of various questions has been needed in the first place. Having Francesca Hunt involved as the mysterious Camilla Trevlyan was a good decision; it is pleasant to hear the sister of India Fisher enthuse on joining the considerable Big Finish Family. Another such connection comes in the form of Justin Richard's nephew Howard Carter, who gives some very sparky information on juggling sound design and music duties. I previously praised Lukis as Freud, and the chance to ascertain his approach to portraying a real life legend is very enjoyable to gain insight from. There is also a fascinating explanation from Lisa Bowerman on how she (and the others of the creative team) make the effort to try different styles and areas to focus on story-by-story. A final note to end on? For those rushing to jot down the many odd words that Henry Jago opts for in order to try and convey gravitas, there comes a little bit of insight into the process on choosing material that makes even expert crossword-players shudder at.