Showing posts with label Steven Taylor. Show all posts
Showing posts with label Steven Taylor. Show all posts

Sunday, March 31, 2013

7-5. Return of the Rocket Men.


2 episodes: The Scourge of the Skies, The Trail of the Rocket Men. Running Time: Approx. 68 minutes. Written by: Matt Fitton. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Peter Purves, Tim Treloar.


THE PLOT:

It is rookie pilot Steven Taylor's 21st birthday, and he's delivering supplies to the colony world Ulysses 519. It's an easy assignment... until he comes under attack by the ruthless space pirates known as "the Rocket Men." He is brought down by the forces of the sadistic Van Cleef (Tim Treloar). Van Cleef tortures Steven using his ancient Smith & Wesson pistol, shooting both of the young man's legs before Steven is saved by another Rocket Man.

Years later, it is pilot-turned-time traveler Steven Taylor's birthday, which he learns when the Doctor uses his astral map to identify the date. Not that it matters. As Steven observes, a birthday doesn't mean much in the TARDIS; any given trip might mean he's incredibly ancient or not even born yet.

Then the TARDIS materializes on Ulysses 519, only to find the colonists in hiding. When they learn where they are, and that the colonists are under attack from the Rocket Men, Steven realizes that his life has come full circle...


CHARACTERS:

The Doctor: When he learns that the colonists' attackers are the Rocket Men, he advises them to stay hidden and just let the pirates take what they want. He knows firsthand how dangerous they are; and as he points out, supplies can be replaced but people cannot. This doesn't stop him from rigging up a distraction in Episode Two and then basking in his own cleverness when it works. Peter Purves does a wonderful job of suggesting William Hartnell's performance, which makes visualizing the First Doctor an easy task.

Steven: This is set shortly before The Savages, and the story is framed as a lead-up to Steven's departure. Writer Matt Fitton echoes the refrain of "When do you know?" from John Dorney's original Rocket Men. This time, the question asks when it's time to move on, which helps this to feel like a very personal story for Steven. Recalling his torment at the hands of Van Cleef, he's as determined to fight the Rocket Men as the Doctor is to avoid them. After events spin out of control, he recalls all the friends he's lost in his travels with the Doctor. He resolves not to allow more deaths, even if it ends up costing him his own life.

Dodo: She's enthusiastic about celebrating Steven's birthday, presenting him with a gift from the TARDIS stores. She's delighted to meet another girl her own age on the colony, bonding with her with an ease Steven envies. She also fights back when Van Cleef takes her hostage, kicking him hard enough that he's still feeling it in the second half.

Van Cleef: An appropriate name for a villain with an admiration for the Old West. I like Van Cleef better than the original story's Ashman. Several scenes are shown from Van Cleef's viewpoint, which makes him feel more distinct as a character than Ashman did. He relates how he got his prized Smith & Wesson and how he subsequently rose to captain. Part of his admiration for the ancient gun is its simplicity. Van Cleef likes to keep things simple: straightforward hits on vulnerable targets, meaning maximum profit for minimal risk. He's also a sadist who enjoys killing for its own sake, and he isn't afraid to make examples of his own men - which ends up coming back to haunt him in more ways than one.


THOUGHTS:

John Dorney's The Rocket Men was a good story that benefited from excellent character work, particularly in its examination of the Ian/Barbara relationship. It was also notable for a nonlinear structure that moved surprisingly smoothly between the Rocket Men crisis and the time travelers' arrival at the location, so that what would have been Episode One of a television story was cut up into Episodes Two and Three.

Writer Matt Fitton shows his respect for the original in several ways. He opens and closes both episodes with the "When do you know?" refrain, reframing it in a way that's as appropriate to Steven as its use in the original was to Ian. The structure is more straightforward; but Fitton works the incident from Steven's youth into the current story, allowing for a small nod at nonlinear structure, complete with us eventually seeing the flip side of the opening scenes.

This is principally an adventure story, and the action zips along nicely. The narrative begins with an action scene, and much of the second half is taken up by a full set piece. Descriptions are sufficient to sketch the characters and locations in our minds, but spare enough to avoid slowing things down.

The setting is less interesting than the first story's. There are no otherworldly sights or strange creatures here. If this was a televised story, it would be one of those that was shot entirely in a quarry. But it moves. It's fast and exciting, and it captures all three regulars well. Yes, even Dodo.

The only real nit I can pick is a tiny one: The means of Steven's survival is obvious pretty much from the start. Still, I never got the feeling that this was meant to be any type of surprise. The device used is a well-worn trope, but there is still enjoyment from seeing it well applied.


OVERALL:

One warning for new listeners: Writer Matt Fitton assumes that his listeners will have followed the entire First Doctor/Steven range, as this story includes a big spoiler for the Companion Chronicle, The First Wave. If you have yet to listen to that story, then do not listen to this until after you've caught up!

That aside, Return of the Rocket Men is an entertaining and well-paced action/adventure story. It may lack the unique setting of the original... but while I'd probably rank the first one as the better story overall, I think this one is more fun.


Overall Rating: 7/10.

Preceded by: The First Wave (not yet reviewed)

Previous Television Story: The Gunfighters
Next Television Story: The Savages

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Wednesday, February 20, 2013

6-7. The Anachronauts.

CD cover for Anachronauts.

4 episodes: The Island, The Door, The Wall, The Betrayer. Running Time: Approx. 131 minutes. Written by: Simon Guerrier. Directed by: Ken Bentley. Produced by: David Richardson. Performed by: Jean Marsh, Peter Purves.


THE PLOT:

The Doctor, Steven, and Sara Kingdom have just left Liverpool on Christmas Day. They're still enjoying the moment when suddenly the TARDIS alarms sound. The Doctor realizes that they are about to collide with another timeship in the Vortex, and there's nothing he can do to avoid it!

After the collision, they find themselves on a beach. The TARDIS is nowhere to be found, but they are quite close to the other ship, which is now a wreck. The crew of that experimental vessel and their leader, Natalie Lang, reveal that they are from a time far in Steven's or Sara's future. They are at war with an enemy they call "The Wall of Noise," and their haphazard trip through time was a desperate attempt to stop this enemy.

The Doctor is appalled at the prospect of using time travel as part of a war. But the immediate problem is escaping this place - something that may prove easier said than done as they come to realize three things: they are on a desert island; the TARDIS does not appear to be anywhere; and they are not alone...


CHARACTERS:

The Doctor: He is initially pleased to meet Natalie's crew, praising them as "pioneers." His attitude shifts once he realizes that they want to use time travel technology as a weapon. The First Doctor has no control over the TARDIS - but even if he did, he plainly states that he would not take them home, detailing the horrific consequences of time travel being used to expand the war of Natalie's people to every point in history.

Steven: His attraction to Sara is clear, to the point that in a crisis, his first impulse is to demand to know where she is. He also knows that any romantic feelings he may have are not returned, a situation he accepts with grace. Peter Purves has been reliably excellent across every range he's contributed to, and that is very much the case here. There's a particularly strong scene near the end, when he realizes the nature of the situation in which he and Sara find themselves. Steven suddenly becomes cold and firm, and Purves makes this moment memorable.

Sara Kingdom: She was at war with the Daleks, and Steven's time also saw humanity at war. When she learns that Natalie's people, who are from a point far in both of their futures, are also at war, she feels despair. She has come to rely on Steven. He hasn't judged her for her actions under Mavic Chen, offering his friendship unconditionally. She does not reciprocate his feelings, but she also doesn't seem keen to discourage them either. Jean Marsh is quite good, with the four episodes allowing her to show different sides of Sara: strong determination, emotional vulnerability, and even abject terror at one point.


THOUGHTS:

The Anachronauts reunites writer Simon Guerrier with Jean Marsh's Sara Kingdom. This is not an extension of Guerrier's earlier Sara Kingdom Trilogy, but instead a standalone adventure that is specifically set right after "The Feast of Steven," the seventh episode of The Daleks' Master Plan.

As with Guerrier's earlier audios, the focus is kept on the characters. There are sci-fi concepts here, some of which I won't reference to avoid spoilers, but everything is in service to the characterizations of Steven and Sara. The script follows the preferred template of the 4-part Companion Chronicles, which is to say that it's really a pair of 2-parters with narrative links. Both halves study the Steven/Sara dynamic in slightly different ways.

The first two episodes separate them, using that separation to show the concern they have when each believes the other is in danger. By the end of the second episode, they are reunited, enjoying a moment of peace by the warmth of a fire. The latter half reverses this, keeping them together for the bulk of the running time, only with circumstances creating an emotional wedge. It's an effective contrast, and the performances of Jean Marsh and Peter Purves are strong throughout.

The story benefits from Simon Guerrier's skill at crafting vivid descriptions extremely quickly. There are two main settings, and both are brought to life quickly and effectively. The plot has one big issue, though: The resolution is too easy to see coming, particularly after the midpoint shift in setting from the island to the Cold War-era Berlin Wall.

I can't say more without spoiling it, but I don't think it's unparalleled powers of narrative perception that led me to see exactly where the story was going - I'm pretty sure a lot of listeners will make the same realization at roughly the same point.


OVERALL:


I would still rate The Anachronauts as a good story. It's well-told, the dynamic between Steven and Sara is wonderfully realized, and there are several clever flourishes throughout. But the story's direction becomes predictable, and I found myself left to wait for the characters to catch up with me.

Ultimately, it's the character interaction that carries this, and fortunately the Steven/Sara relationship is splendid... but the obviousness of the resolution keeps me from ranking this as highly as most of Guerrier's earlier Trilogy.


Overall Rating: 7/10.

Set immediately after: The Daleks' Master Plan, Episode 7

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Saturday, February 19, 2011

5-1. The Guardian of the Solar System.

CD cover for The Guardian of the Solar System.

2 episodes: The Old Men in the Clock, The Guardian of the Solar System. Running Time: Approx. 70 minutes. Written by: Simon Guerrier. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Jean Marsh, Niall MacGregor.


THE PLOT:

Decades have past since Robert agreed to stay in the house possessed by the consciousness of Sara Kingdom. Robert's daughter has grown and moved away, leaving him alone - and he has lost interest in going on with this life. Sara agrees to grant his final wish, but only after telling one last story of her travels in the TARDIS.

She relates a tale Robert has never heard before, though one that she has alluded to. The TARDIS materialized inside a mammoth clock, one that is tended by old men who seem completely unaware of the time travelers' presence. It becomes clear that they aren't merely tending to the machine - they are slaves to it.

"They are prisoners." So the trio are informed as they are taken into custody by a woman wearing the same Space Security uniform as Sara. They have arrived on Earth, one year before Guardian of the Solar System Mavic Chen makes his deal with the Daleks, and they have unwittingly stepped into the darkest secret held by Earth's government.

Sara's brother, Bret Vyon, is there, and he arranges a private audience between his sister and the Guardian. To her surprise, Mavic Chen is happy to have her input, agreeing with her that the exploitation of the old men is wrong and even offering her a position at his side. Sara begins to wonder if she might change the past to stop Chen's alliance before it ever happens - which would also prevent her own greatest regret, the execution of her brother! 


CHARACTERS:

The Doctor: He is fascinated by the workings of the clock. He slips into lecture mode, going into detail about how time is kept by the capture/escape of the mechanism - establishing some of the story's themes and allowing writer Simon Guerrier to show off his research at the same time. He shows faith in Sara's judgment by not going after her as soon as he and Steven free themselves from their cell, instead turning his attention to the clock and the old men who are being kept prisoner.

Sara Kingdom: Throughout this trilogy, she has been haunted by guilt over Bret's death. She's trapped in that moment, as much its prisoner as the old men are prisoners of the clock. Now, seeing him alive, she clings to the hope that she can change the past. Her meeting with Chen, in which he seems to take her concerns about the treatment of the prisoners seriously, encourages that belief - which only increases her despair when, inevitably, altering her own past proves impossible.

Steven: He and the Doctor are in sync, while Sara thinks of herself as an outsider and believes the Doctor still has doubts about her. She seems to envy Steven's certainty in situations, contrasting that with her own self-doubt. Steven remains focused on the well-being of his companions. When he and the Doctor get free, his first thought is to go to Sara's rescue. 

Mavic Chen: It may qualify as fan heresy, but I actually think this story provides better characterization for Chen than The Daleks' Master Plan did. Though actor Kevin Stoney's charisma made up for a lot, television Chen was quickly reduced to a paper tiger, failing repeatedly and often as a result of his own arrogance. By contrast, this Chen is a master politician, expert at picking out what people want before they're aware of it themselves (a neat echo with the house of the frame story). Chen plays Sara perfectly by telling her what she wants to hear and by making her feel valued and useful to him.

Bret Vyon: He is assigned to the clock, a classified operation that he could not reveal even to Sara. She observes in narration that they often did work that they could not discuss with each other. His fondness for her is clear in their interactions. After he takes her to see Chen, he is both amused and proud, assuming that she took the initiative to secure a meeting in order to advance her own career.

Robert: A theme of this story is people being trapped by their choices: Sara by her choice to shoot Bret, Robert by trading his own freedom for the sake of his daughter. Robert talks about having had no choice. When Sara points out that he didn't even try to leave with his daughter, if only to see if he could, he simply responds that he gave his word. He shows compassion when Sara breaks down at one point, telling her that what she did to her brother wasn't her fault, though she cannot make herself believe that.


THOUGHTS:

"There's never been any choice. I thought I had a chance to change things for the better... I can't change anything. There's nothing else to wish for."
-Sara Kingdom reveals the full extent of her own despair.

The Guardian of the Solar System brings Sara full circle. Her final story to Robert details a return to her own time, at a point just before everything went wrong. She sees her brother, she meets with a Mavic Chen who has yet to sell Earth out to the Daleks, and she deludes herself into hoping to change her own past - which proves ultimately impossible.

As good as this trilogy has been, I think this is its finest entry. The story is wonderfully written, with outstanding descriptive writing, such as when Sara describes the workings of the clock as a city made of blocks with individual mechanisms that are larger than rockets she's flown. The threads, both past and present, weave together much the way they did in Home Truths, and both threads are equally strong.

Early on, we're told how the clock operates: Each swing of the pendulum turns the cog a fraction, with the cog's teeth caught and then escaping from the mechanism only for the next tooth to be caught and escape. "The swing of the pendulum turned the cog, the turn of the cog swung the pendulum." And so the setting itself represents one of the main themes: the sense of being trapped.

Throughout the trilogy, Sara has observed how she had "no choice" in actions she has taken. This story pushes what has been a background motif into a foreground theme. Every character is trapped in one way or another, and their very attempts to escape just deepen their personal traps. The Doctor and Steven are captured and taken to a cell, which they of course escape. Standard Doctor Who padding... except that after he escapes, the Doctor returns to the clockwork, determined to free the old men - and in so doing, gets himself and Steven caught in the old men's prison.

Sara and Bret are prisoners of the inevitability of time, with Sara coming to realize that whatever she does, Bret is still destined to die at her hands. Meanwhile, the present-day strand has Robert insisting that he had no choice but to offer himself to save his daughter. Every so often, one will remind the other that they've had choices, albeit not always good ones, but each quickly slides back into the refrain of insisting that they had no choice at all.

The sound design for this release is particularly good. Within the great clock, we hear a constant, loud ticking that matches the oppressive nature of the mechanism itself. When the story moves back to the frame, there's still a ticking noise, the much quieter sound of the house's own clock - but the clocks of both past and present tick in the same rhythm, enhancing the sense of being trapped within mechanisms both cultural and mechanical. There is relief from the clock noise when Sara meets Mavic Chen, and the freedom from the sound of the clock may itself lower Sara's defenses when he justifies himself to her... but once that meeting is over, the ticking resumes.


OVERALL:

This is a splendid release, my favorite entry in a trilogy that's been largely excellent. A well-scripted tale is strengthened even further by the performance of Jean Marsh, who is at her best here. When she breaks down and decries that she's never had a choice in anything, the character's pain and anger is tangible.

It's not quite the end of my run through this mini-series, however, as this version of Sara would have one more appearance in a very different type of story...


Overall Rating: 10/10.

Set between: Episodes 7 and 8 of The Daleks' Master Plan

Previous Story: The Drowned World
Next Story: The Five Companions (not yet reviewed)

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4-1. The Drowned World.

CD cover for The Drowned World.

2 episodes: The Rising Tide, The Drowned World. Running Time: Approx. 68 minutes. Written by: Simon Guerrier. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Jean Marsh, Niall MacGregor.


THE PLOT:

It has been some time since Robert (Niall MacGregor) heard the story of how the consciousness of Sara Kingdom came to possess the house in Ely. Throughout that time, Robert has advocated to for "Sara" and her right to exist. He regularly returns to listen to more of Sara's stories, and he decides to record one in particular: the account of the real Sara's visit, with Steven and the Doctor, to a mining colony on a world covered in water.

A recent earthquake had shaken the mining facility, leaving the laboratory half submerged. The TARDIS materializes in the lab, only to rapidly slide from its slanted perch into the water. Above, the colonists await rescue, as their supply of oxygen dwindles.

While the Doctor sets to work on repairing the life support, Sara and Steven enlist the aid of three miners to retrieve the TARDIS. But the water turns out to be acidic, dissolving the rope they hoped to use to lift the box to dry land. Then the water begins reacting to their presence. It is alive and sentient - and it wants them dead!


CHARACTERS:

The Doctor: He doesn't hesitate to use his skills to save the colonists, setting to work repairing their life support while chuckling that he will "warm up the cold equations." When the water comes to life and begins engulfing the lab, with Sara still inside, he knows that he needs to close off the compartment separating the larger colony from the lab, but he can't bring himself to actually do so, with it ultimately falling to Sara to secure the seal.

Sara Kingdom: She continues to define herself by her oath to protect and serve. After she witnesses one miner's horrific death to the deadly water, she proclaims, "No one else is going to die!" She keeps the remaining two miners moving, focusing on the slim hope of climbing outside to a higher level and getting in through an airlock. She is a little too willing to sacrifice her life to save these strangers, her soul clearly shredded by guilt over shooting her brother.

Steven: Climbs easily up and down the tilted surfaces, his time in space having taught him to disregard the natural instinct to compensate when off balance. He leads the attempt to lift the TARDIS with rope, which seems to be working until the acidic nature of the water is revealed. He goes back to the Doctor to try to find something that won't dissolve, only to watch in horror as Sara shuts herself into the lab. The Doctor shouts down his attempts to interfere, pointing out that the rising water leaves nothing for them to do.

Robert: Like Sara, he took an oath to uphold the law, and he remains devoted to it. He genuinely believes that she might be considered an exception to laws against the supernatural, and he plans to record her voice on a phonograph so that the council of elders can hear her for themselves. When Sara acts to promote her own self-interest, he judges her harshly, though this does not stop him from turning her to help when he needs it.


THOUGHTS:

2008's Home Truths was a successful release, a fine story that found a clever conceit to allow Jean Marsh's Sara Kingdom to tell tales from her time in the TARDIS despite the character's death in her sole television story. With Marsh willing to reprise the role, Big Finish commissioned a sequel from the same writer, Simon Guerrier.

The result is another good story, though in my opinion not quite as good. Home Truths impressively weaves the Sara/Robert frame story and the narrative their scenes surrounded into a single, seamless narrative. That was always going to be a hard trick to repeat, and Guerrier wisely doesn't attempt to do so. Instead, he tries to thematically connect the past and present strands. This is effective at the end - but those connections really only become clear at the end, which makes the divide far more apparent.

By far the stronger of the two threads is the frame. Robert's world is greatly expanded from the first story, giving a greater sense both of the political structure and of the forces that threaten it. The added detail makes this world more real, with events unfolding outside the house that impact the interactions between Sara and Robert. The script creates an arc for the two characters, introducing tension into their relationship and shifting the power dynamics back and forth. All of this combines to make the frame feel larger and richer than the mining colony plot.

The past storyline, with Sara trying to rescue the miners from the deadly water, is still engaging. The planet of water makes for an inherently visual setting, and Guerrier's descriptions are concise yet vivid, helping to bring that setting to life. Pacing is also a strength. Just as the core situation, of the dwindling oxygen and the submerged TARDIS, has been established, the water itself becomes a threat. Sara's efforts are complicated and outright thwarted throughout, with her having to take additional risks to keep everyone alive.

The issue with this release is that, unlike Home Truths, the two strands don't come together to form a stronger whole. Even with the thematic parallels, I still felt like I was listening to two different stories - both of them good, but still distinctly separate.


OVERALL:

Sure, Home Truths was better. Then again, Home Truths is better than most Big Finish releases. The Drowned World is still a good story, one that I wouldn't hesitate to recommend, and I eagerly await the conclusion of this trilogy (yes, I listened to it on release - but that was a long time ago, and I don't remember a thing about it).


Overall Rating: 7/10.

Set between: Episodes 7 and 8 of The Daleks' Master Plan

Previous Story: Home Truths
Next Story: The Guardian of the Solar System

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Friday, February 18, 2011

3-5. Home Truths.

CD cover for Home Truths.
2 episodes: Dream Home, Home Truths. Running Time: Approx. 68 minutes. Written by: Simon Guerrier. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Jean Marsh, Niall MacGregor.


THE PLOT:

Rational, respectable Robert (Niall MacGregor) travels across the water to the isle of Ely to visit a deserted house, a house that has been the subject of whispers and rumors. He comes to talk to its proprietress, Sara Kingdom (Jean Marsh), and to hear her story.

Sara's story is also of a house: a home that she comes to with the Doctor and Steven. The house runs on psychic energy. Basic mechanisms, from doors to water faucets, respond not to physical manipulation but to thought. If you want a door to open or the water to turn on, thinking it will make it happen. A fascinating curiosity - until the trio comes across the corpses of the young couple who lived here.

Sara inspects the scene with her investigator's eye. There's no sign of a struggle, no sign of any violence at all. She observes that it's as if the two were alive right up to the moment of their deaths. An anxious Steven wants to leave. The Doctor thinks they should at least inform the local constabulary before moving on. And Sara, presented with a crime scene, wants to do her old job and solve the mystery.

But they aren't alone in this house - and the danger increases every moment they stay!


CHARACTERS:

The Doctor: Sara sees him in two ways: as an aging authority figure with wisdom and resources she can't comprehend, yet also as a kindred spirit who is as eager as she is to solve the mystery of the dead couple. He doesn't allow his own interest to override his judgment, however. Once he realizes that they are in danger, he is willing to leave - at least, until circumstances dictate otherwise.

Sara Kingdom: She is driven by her own regret at shooting her brother rather than hearing him out. She loved being a security agent, a job she viewed as bringing order to chaos, and she resents that corrupt politics tarnished that. Presented with an old-fashioned murder mystery, a part of her delights in getting to use her skills, even as she chides herself for finding joy in the deaths of two people. Jean Marsh is splendid, convincingly presenting both an older and younger Sara in the frame vs. the main narrative.

Steven: The Doctor and Sara are intrigued by the dead bodies, but Steven is just disturbed by them. The instant he thinks there's danger, he begins prodding the others to simply leave. Outside of that, and some amusing business as he struggles with the mechanism of a psychic water faucet, he's mostly the "extra character" of the main trio.

Robert: The man in the frame story, rescued from the storm to hear Sara's story. It's evident early on that he's not here by accident. He addresses her as "Miss Kingdom" before she introduces herself, and he reveals that he paid well to be brought here in this weather. We learn steadily more about him as the story progresses. Suffice to say, he's a counterpart to the Sara of the past, a man who values truth and has no time for superstition. Niall MacGregor is good, and Robert gets a more prominent role than most of the range's "frame story" voices.


THOUGHTS:

Home Truths mixes a haunted house story with a locked room mystery. It works well as both, the creepy elements and the mechanics of the mystery feeding each other, the eeriness lending atmosphere to the mystery. Writer Simon Guerrier plays fair with the plot, providing enough clues that I was able to guess what was behind the deaths by the end of Episode One. Even after I knew where it was going, the story remained strong enough to hold my attention.

Part One is a slow build. This is appropriate to both of the genres being invoked, and everything that happens during this initial phase is needed: The house and its mechanisms are explored, the mystery is introduced, and plot points are carefully set up to pay off in Part Two. Descriptions are effective and, combined with excellent (and restrained) sound design, the atmosphere carries the narrative to a strong cliffhanger. Still, I suspect some listeners may grow restless.

I think the second episode is the better of the two, with all the devices of the plot so carefully set up by Part One finally paying off. The sense of danger increases, and the pace picks up as the regulars work to resolve the mystery while escaping from the house that's now become their cage. Ideas about careless thoughts, regrets, and judgment weave into the main narrative in ways that make them not just interesting but urgent, and the story's climax has some real tension.

This is a more internalized story than most Companion Chronicles. By this point, the range had already become less a range of "enhanced talking books" and more of a hybrid between audio book and play, but Home Truths tilts more toward narration than action. This suits the nature of the story, and it helps to make the bookends with Robert a stronger part of the narrative. It also suits Jean Marsh's strengths, with the emphasis on Sara's inner turmoil allowing Marsh to bring stronger emotion to bear than her brief televised tenure had time for.


OVERALL:

I've mentioned before that The Companion Chronicles may be my favorite Big Finish range, and Home Truths is one of the better of its releases. Jean Marsh gives an excellent performance, and the production enhances the story while remaining simple enough to avoid distracting from the actors and emotional content.

It may require a bit of patience from some listeners, but I think the end result is well worth that initial effort.


Overall Rating: 9/10.

Set between: Episodes 7 and 8 of The Daleks' Master Plan

Next Story: The Drowned World

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Sunday, September 26, 2010

2-1. Mother Russia.

Mother Russia cd cover.

2 episodes. Running Time: Approx. 68 minutes. Written by: Marc Platt. Directed by: Nigel Fairs. Produced by: Sharon Gosling. Performed by: Peter Purves, Tony Millan.


THE PLOT:

After their misadventure in Tombstone, the Doctor, Steven, and Dodo decide that it's time for a vacation. When the TARDIS brings them to a village in early 19th century Russia, the place seems ideal. It is 1812, the year of French Emperor Napoleon Bonaparte's invasion of Russia - but the war is still distant, and they are safe for now. They can at least linger until Steven's new friend, Semion, is married.

But the night of the wedding is when it all goes wrong. There are lights in the sky that the Doctor and Steven recognize as a space battle, and an escape pod crashes nearby. Semion goes to investigate, and Steven follows to keep him safe. However, Steven is knocked unconscious - and when he awakes, Semion is behaving strangely.

Eventually, Steven realizes that the crashed ship belongs to "a thief of shapes," an alien who has impersonated Semion. By then, however, Napoleon's men have reached the area and are advancing on Moscow. This is when Steven would usually rely on the Doctor to set things right - but the Doctor is waiting to greet the French army, going up to Napoleon in person to promise him victory!


CHARACTERS:

The Doctor: Talks his and his companions' way into the count's household, securing a position for himself as tutor to the man's son and Dodo as companion to his daughter, while leaving Steven time for relaxation that he can sense that the young man badly needs. He remains cautious of history - but when crisis strikes, he cannot make himself stand by. When the villagers begin burning food stocks to deprive the French army of them, he urges them to just hide the food instead so that they won't starve themselves. They don't listen, but at least he tries.

Steven: He knows he's pushing his and his companions' luck by agreeing to stay until Semion's wedding, but he doesn't want to disappoint his new friend. He later reflects that he should have left as soon as he walked in on the Doctor and Dodo worrying about their location. He's almost supernaturally non-genre savvy. Knowing that the crashed alien is a shapeshifter, and seeing the Doctor behaving oddly, it still takes until very late in the story for him to figure out what almost every listener will realize immediately.

Dodo: Writer Marc Platt writes well for this often poorly served character. Dodo is portrayed as friendly with the villagers and enthusiastic, which is entirely consistent with her television characterization. At one point, Steven is unable to get the villagers to answer questions about Semion. Dodo starts banging on windows, which Steven obviously considers pointless... until Semion's fiancée opens her window and tells her what she wants to know. She also expresses pity for the French soldiers when the Russian winter begins to fall.

Semion: The forester shows Steven how to track and hunt. As Steven notes, Semion spends a lot of that time making fun of his ineptitude, but the two enjoy each other's company and become fast friends. When the Imposter Semion wanders into the village later, Steven is concerned and tries to get the man to come back to himself before he finally realizes what has happened. Peter Purves does a splendid job of voice acting in this story - but I will say that his accent for Semion sounds less Russian and more like Purves's audition for a particularly hammy Dracula.

Napoleon Bonaparte: Only seen late in the story, after his army reaches Moscow. Though he's ostensibly won at this point, he doesn't behave like a victor. Instead, he's weary, perhaps already noticing on some level how precarious his army's position is. When Steven announces that he's on the Russians' side, Napoleon compliments him for his honesty - and orders him arrested, almost as an afterthought. It's an interesting characterization, one that makes me wish that his role was a larger one.


THOUGHTS:

Writer Marc Platt kicked off the Companion Chronicles range with the atmospheric Frostfire. He comes back to start the range's second season with Mother Russia, which manages to be even better.

A quality of Platt's writing that's particularly well-suited to this range is his economy. He is able to use very quick descriptions to create memorable images: A peasant village that contrasts with the count's estate; tracks from a crashed alien ship; panicking villagers burning their own homes and food stores; flames rising from inside Moscow. These visualizations are accomplished in a single sentence or sometimes phrase, making the world feel alive and layered without slowing the pace.

Napoleon's invasion is mostly a backdrop. Though the historical side works best if you have some familiarity, as ever, the Doctor still feeds us enough context to follow what's happening. We spend much of the first episode just seeing reactions to Napoleon's approach. The villagers anxiously ask the Doctor, Steven, and Dodo for news about the French; gunfire is heard in the distance; peasants from another village move listlessly along the road, having abandoned their homes and fled. It isn't until Episode Two that we directly see the French soldiers, and Napoleon only gets any real "screen time" near the end.

The story mixes genres effectively. There's the historical drama of the type often seen in the Hartnell era. Then there's the sci-fi plot, featuring an alien shapeshifter whose MO is more than slightly reminiscent of The Thing. Almost surprisingly, there is no clash in tone, the two threads coming together for a particularly strong ending.

This was Peter Purves's first Big Finish audio, and I think it remains one of his most impressive performances. His seemingly age-resistant voice allows him to recreate his 1960s performance as Steven, and he also does a fine job of capturing William Hartnell's Doctor. He even varies that performance just slightly when the alien impersonates the Doctor. It's the same overall "voice," but more abrupt and minus any sense of warmth.

This difference becomes particularly apparent when the real Doctor and the imposter face off. At this point, Purves switches between his normal voice (Steven/narration), his "real Doctor," and his colder "imposter Doctor" from one line to the next. It's so seamless that I actually forgot that all of this was the same actor!


OVERALL:

Mother Russia is an excellent story from one of Big Finish's most reliable recurring writers. It offers a strong sense of setting and an interesting historical backdrop, melding that with a well-turned alien menace. The story builds from a leisurely start to a gripping final Act, and the ending is exceptional, both the climax and the brief epilogue.

All told, I'd rank this as one of the very best Companion Chronicles.


Overall Rating: 10/10.

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1-1. Frostfire.


2 episodes. Running Time: Approx. 68 minutes. Written by: Marc Platt. Directed by: Mark J. Thompson. Produced by: Sharon Gosling. Performed by: Maureen O'Brien, Keith Drinkel.


THE PLOT:

Vicki has left the TARDIS and is now living as Lady Cressida, wife of Troilus, in ancient Carthage. But her time with the Doctor still haunts her. She pays her scribes to record a story of one of her travels, and she brings it to a prisoner to read.

In her story, she recalls visiting the 1814 London "Frost Fair" with the Doctor, Vicki, and Steven. By chance, the group meets the novelist, Jane Austen. They also witness a show by a Captain McClavity, showing off his treasures. Most of them are junk, but one catches the time travelers' eyes: a "Phoenix egg."

Soon after, McClavity is killed, and the egg is stolen. But that's only the beginning. The already frozen city of London becomes colder still, until fire itself burns cold instead of hot. Vicki is certain that it's to do with the egg. It's sucking the warmth from everything - and soon, the Doctor fears, that will include people!


CHARACTERS:

The Doctor: A relentless showoff. When he realizes when and where they have landed, he basks in displaying his knowledge. When Steven hopelessly bungles on the dance floor, the Doctor makes a spectacle out of dancing expertly with Jane Austen. After the crisis hits, the frivolity drops away as he confronts the life form. Maureen O'Brien does her best to capture some of Hartnell's mannerisms, particularly the "Hmmm?" he would sometimes use to punctuate a line, but she wisely doesn't attempt to mimic him. Instead, her performance emphasizes the Doctor's intellect and pride, giving the impression of a mind that is focusing on a few too many things at once.

Vicki: Maureen O'Brien slips right back into the character, recapturing Vicki's pluckiness, her impatience whenever the Doctor or Steven attempt to shield her, and her tendency to get herself in over her head. When Jane Austen assumes that she and Steven are a couple, Vicki's first reaction is to laugh. She thinks of him as a brotherly figure... though she'll privately admit to finding him "dishy."

Steven: O'Brien just slightly deepens her voice for Steven, rather than attempting to channel any of Peter Purves's actual performance, but it works well enough - not least because Steven is easily the least used of the regulars. He's mostly just the muscle here, forcefully ejecting an unwanted visitor at one point and standing between an aggressor and his friends at another point.

Jane Austen: The "historical celebrity guest star" and the most prominent guest character in general. If this had been a later Companion Chronicle, after the format became more set, I suspect she would have been the "second voice." She forms a duo with Vicki in the second half, insisting on venturing out into the frozen city. When they find themselves confronted with frozen bodies, Vicki castigates herself for not waiting for the Doctor; Austen, however, seems to be enjoying the adventure even after it turns deadly.

The Cinder: The story's actual second voice, the prisoner to whom Vicki relates her story. His role is almost entirely confined to the framing device... but it is a bit more complicated than that, and he turns out to be more than just a passive listener.


THOUGHTS:

Frostfire was the title that launched Big Finish's Companion Chronicles. I'm glad this one came first to set the tone. Instead of some generic runaround with returning enemies, writer Marc Platt offers a slow burn narrative with a strong sense of setting, good characterization, a creepy atmosphere, and some decent ambition... which is a fair summation of the strengths of this range.

Later Companion Chronicles would often steer toward being hybrids, part audio book and part audio play, with stories often conveyed as much through the production as the prose. Frostfire, however, is very close to a pure audio book. It's enhanced by some music and sound effects, but the story is entirely a reading, with the "second voice" confined to the frame. Listeners familiar only with the later entries may be surprised by that.

Fortunately, it's quite a good story! Marc Platt is one of Big Finish's most reliable recurring writers, regularly delivering creative ideas and structural flourishes. Most Companion Chronicles that even feature a framing device don't make it into a major part of the story. Platt weaves his framing device together with the main narrative in a way that builds to splendid effect at the end.

Frostfire is particularly strong on atmosphere. Descriptions are vivid: People praying in a church, frozen in place where they knelt; frost spreading across surfaces; the cracks in the egg when Vicki sees it; and the frostfire itself, the flames turning from red to green. Lawrence Oakley's music emphasizes the tone without ever becoming intrusive, and the sound design is generally well judged.

Maureen O'Brien does an excellent job as reader. She puts plenty of emotion into her voice, and she varies the pace of her reading to match the energy of the scene itself. O'Brien's voice is enough the same as in the 1960s that I had no problem picturing Vicki while listening - and, as readers of my Hartnell reviews will know, I was always very fond of Vicki as a character. Platt writes her well, showing off her relationships with both the Doctor and Steven. A well-judged aside has Vicki admitting to bullying Steven from time to time on the grounds that she was just enough smaller than him to get away with it, which sounds absolutely in character.


OVERALL:

Frostfire is a slow burn, with most of the action restricted to the second half. I think the slower pace fits the tone quite well. Still, some listeners will probably get restless.

I do think this would have benefited from casting a voice actress to play Jane Austen, with a few more dramatized scenes inside the main story. But I also think that's mainly to do with "teething issues" in a new range. Marc Platt was clearly avoiding having any additional voices interrupting Vicki's reading; looking at the first set of stories as a set, I'm pretty sure they were viewed principally as audio books, with sound effects and a second voice as enhancements to appeal to Big Finish's regular listeners, with the format evolving from there.

Overall, Frostfire was as good a start as The Companion Chronicles could have hoped for. There may be entries in the range that are more "fun." But this remains a very good story, one that's well worth the investment of a little time and patience.


Overall Rating: 8/10.

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