Category: Audio Drama Review

Audio Drama Review, Golden Age Article

Audio Drama Review: The Avengers, The Lost Episodes, Volume 1

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Many TV producers did little to preserve their programs for posterity, leading to many TV episodes from the 1950s being lost to time, perhaps never to be seen again. In the United Kingdom, this continued into the 1960s with many programs lost to the ages due to the BBC’s “wiping policy.” It effected Doctor Who where more than 90 black and white episodes of the series are only available on audios and numerous other series that don’t exist in any form.

The case is worse for the first season of The Avengers. Only two full episodes and the fragment of another exist and no audio exists for the missing programs. The hit TV series was best known for the pairing of the Roguish spy John Steed (Patrick Macnee) with Mrs. Emma Peel (Diana Rigg.) However, Mrs. Peel only joined the series in Season Four. The first season featured Steed fighting alongside Dr. David Keel. What was that season like? Beyond the fragments we had, the entire first season of adventures was lost.

Then Big Finish came along. The company, best known for their Doctor Who dramas, agreed to produce the missing episodes of the Avengers as Audio Dramas and cast Julian Wadham as John Steed, Anthony Howell as Dr. Keel, and Lucy Briggs-Owens as nurse Carol Wilson.

The first volume collects four episodes of The Avengers: “Hot Snow,” “Brought to Book,” “Square Root of Evil,” and “One for the Mortuary.”

Throughout the set, Big Finish does an incredible job creating a sense of authenticity. The background music and soundscape succeed in making the set seem like a well-preserved recording from the 1960s rather than a modern imitation. The direction and acting are authentic to the era. When I listened to these, I found it easy to forget these were recorded in 2013.

The stories themselves are different from the type of stories told in the Steed and Peel era. Episodes from the Steed and Peel era included fantastic plots like a mad tycoon who planned to turn his department store into a nuclear bomb. The early Avengers episodes seemed to enjoy far more typical crime dramas.

The first episode, “Hot Snow,” focuses on drug dealers who  start Keel’s career as a crimefighter by murdering his bride to be.”Brought to Book” has Steed and Keel working to bring down an extortion ring with ties to the hitman that murdered Keel’s fiancee. “The Square Root of Evil” features Steed infiltrating a counterfeiting ring, In “One for the Mortuary,” Keel agrees to carry a life-saving formula to the World Health Organization in Geneva but finds himself in the crosshairs of international ne’er-do-wells who want to steal it for their own ends.

“One for the Mortuary” is the most exciting story in the collection, and it  gives the biggest hint of what was to come for the series with an exciting and dangerous spy game with assassins and international intrigue. The first three were well-produced and well-acted but quite ordinary crime dramas. It’s odd to think the show went from basic undercover work to trying to stop a department store from being used as a doomsday weapon.

The one story that had a significant problem was “The Square Root of Evil.” The reason Steed goes undercover is so he can find out who the Mr. Big is behind the counterfeiting operation. However, the episode ends before Mr. Big is caught or Steed learns who he was. Also, modern listeners may take issue with Keel’s reaction understated reaction to his fiancee’s murder. However, this is true to the era.

Each episode features a short extras segment which provides insight into the production of the set. I found the interview with John Dorney interesting as he adapted the original scripts and he explained the unique challenges in this task.

Overall, the stories are enjoyable and the finale is particularly good. The entire collection manages to recreate four classic TV episodes that we haven’t experienced for over five decades and does so with a great sense of respect and authenticity.

Rating: 4.0 out of 5.0

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Audio Drama Review, Father Brown, Golden Age Article

Audio Drama Review: The Wisdom of Father Brown, Volume 1

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Colonial Radio Theatre has begun release of its second series of G.K. Chesterton’s legendary crime-solving priest, Father Brown. This latest series of sets will focus on the second book, The Wisdom of Father Brown.

First up is “The Perishing of the Pendragons,” a story featuring Father Brown, Flamebeau, and a friend encountering one of the last surviving members of a supposedly cursed sea-fearing family living on a remote island. There’s a lot of backstory until the mystery gets going but its to Father Brown’s credit that he sees the plot at all.

“The Head of Caesar”-Father Brown stumbles on a proper young lady in a quite improper place fleeing from a blackmailer who has threatened to expose her theft from the family coin collection. It’s an interesting tale with a good solution that includes a thoughtful exploration of the difference between collectors and misers or the lack thereof.

“The Absence of Mister Glass”-Father Brown goes to a super sleuth for help in investigating a young woman’s boyfriend. They find the boyfriend tied up and our super detective has to figure out what happened. He has a brilliant solution—but is it the right one? This is one of the funniest Father Brown stories and Colonial does a superb job performing it.

“Paradise of Thieves” finds Father Brown in Italy in a swirl of intrigue.over tourists and the re-emergence of a romantic bandit. In my opinion, this is one of Chesterton’s weakest stories because he gets so carried away making his points that he gives us a confusing plot where the actions of the villain are puzzling to say the least. Still, Colonial does the best they can with it and manages to capture the best the story had to offer in its atmosphere and a little bit of humor.

Overall thoughts: While all the Father Brown books have their charms, I have to admit The Wisdom of Father Brown is the book I enjoyed least. There were so many stories where mysteries were buried or hard to follow in that particular collection.

Colonial deserves credit for a collection that makes these stories accessible. G.K. Chesterton had a fantastic way with words. One of the best things about the way writer MJ Elliott does in adapting these stories.is to take Chesterton’s beautiful descriptions and commentaries and turn them into dialogue which allows the listener to enjoy the richness of it.

The direction and music are all at Colonial’s usual strong standards, and the acting is mostly very good, although there were a couple of accents that could have been done a bit better.

Still, this is a worthy and welcomed production for fans of Father Brown and the works of G.K. Chesterton.

Rating: 4.0 out of 5.0

Disclosure; I received a free digital copy in exchange for an honest review.

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Audio Drama Review, Golden Age Article, Sherlock Holmes

Audio Drama Review: All Consuming Fire

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Despite both series being produced by Stephen Moffat, BBC’s hit shows Sherlock and Doctor Who are unlikely to crossover despite the desire of many fans to see such an event. However, with its adaptation of Andy Lane’s novel All Consuming Fire, Big Finish gives listeners a chance to hear a meeting of the two great heroes with Sylvester McCoy reprising his role as the Seventh Doctor and Nicholas Briggs taking on the role of Holmes (one he has played quite well in Big Finish’s Sherlock Holmes range.)Books stolen from a church library set Sherlock Holmes on a collision course with the Doctor. We’re given a very intriguing concept involving spooky ancient spirits, and a planned human invasion of alien worlds from Victorian England.

The plot is fun, if a bit dense, which often happens when novel plots are heavily condensed. The key to enjoying this is to properly set expectations. This is definitely a Doctor Who story guest-starring Sherlock Holmes as opposed to a story where the two are equals. Things really go beyond Holmes’ experience in the last two parts, although he does a relatively good job of rolling with the punches.

While the actors are the same as for Big Finish’s Sherlock Holmes stories, the characterization is different both because the novel was written independent of other Holmes pastiches and the story was set prior to the seminal events of the the last two Sherlock Holmes box sets and therefore the characters are younger.

Still, this story is quite enjoyable. There’s a great mix of suspense, mystery, and atmospheric moments, as well as some comedic ones such as Holmes’ response to the Doctor’s compliment at the end of the story. And there are enjoyable interactions between the Seventh Doctor’s companion Bernice Summerfield (Lisa Bowerman) and Dr. Watson (Richard Earl).

One complaint is the role of the Doctor’s other companion Ace (Sophia Allred). She only plays a part in Episode 4 in helping the Doctor and a friend stay alive on an alien planet but makes cameos in the prior episodes to remind us that she is eventually in this story. It’s an odd use of a popular companion and the cut scenes throughout the other episodes are a bit jarring.

Still, despite some minor production errors, this was a satisfying and entertaining audio drama that delivers a fun story worthy of these iconic characters.

Rating: 4.0 stars out of 5.0

 

 

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Audio Drama Review: The Judgment of Sherlock Holmes

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The box set begins with Holmes visiting Watson in the early 1920s on urgent business that involves setting down a key adventure that occurred after the events of the Final Problem when Dr. Watson believed his old friend was dead. However, the Society believes Holmes is alive and wants to find him. To do it, they’ll threaten everything Watson holds dear. Watson faces this threat in London while, unbeknownst to him, Holmes is on their trail in Tibet.

This is a rich story spread out over more than four hours. The music and sound design by Jamie Robertson is some of the finest work Big Finish has done, and it makes the story come to life.

The script is meaty. The production successfully mixes mystery, political intrigue, and great character moments in a constantly entertaining story. Watson is pressed to his limit, into taking actions he would not normally countenance. Holmes ends up facing choices that haunt him (and perhaps the world) decades later. We’re also given insight into Holmes’ family and background.

I appreciated the way the villains were drawn. We’re inundated with fictional villainous organizations bent on world conquest that introducing such a group is not in itself remarkable. Barnes does a great job of casting the Society as a fanatical, apocalyptic cult without going over the top. There’s a certain realism to them that makes their fanaticism frightening.

Nicholas Briggs makes a superb Holmes, and nicely manages to distinguish his Holmes from 1892 from that thirty years later. Richard Earl gives one of the best interpretations of Watson I’ve heard and really does well in a story that requires him to carry far more action than is typical for Watson. They’re supported by an absolutely superb supporting cast who don’t miss a beat.

My only criticism is, after the Society’s Plan is dealt with, we’re treated to more than twenty minutes of decompression and clean up and much of that is still in the 1890s. In addition, the fate of Mary Watson was so central to this story but is dealt with in a bit of an anti-climatic way.

Despite these minor issues, the Judgement of Sherlock Holmes is a thoroughly entertaining and well-produced audio drama that shines some light on Holmes’ lost years with a cracking adventure as well as, perhaps, setting the stage for adventures to come.

Rating: 4.5 out of 5.0

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Audio Drama Review: The Ordeals of Sherlock Holmes

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To call The Ordeals of Sherlock Holmes ambitious would be an understatement. It’s a collection of four-hour-long, original audio dramas from the life of Sherlock Holmes that spans nearly forty years, has an underlying plot that ties together through the set, yet each story holds up fairly well on its own.

The stories are an interesting mix. The lead off tale is set before Holmes and Watson met and has Holmes having his first meeting with Lestrade in England, while Watson is kidnapped from his unit to care for a dying Englishman in Afghanistan.

The second story is set shortly after Holmes’ return from being presumed dead and after the Adventure of Empty House and a series of great successes which leads to arrogance and a failure that leads to a well-deserved dressing down. The third part tells the reason why Holmes retired so young from Detective work. The final story is set after World War I and finds Holmes and Watson on their way to Europe to apprehend an old enemy only to discover the mastermind behind the entire affair.

The stories are well-written both individually and as a collection. It really hangs together quite well. The acting by the leads is superb as Briggs and Earl really inhabit the roles. The set manages to highlight the warmth and strength of the Holmes-Watson friendship that has survived so much. This combination is a really a pleasure to listen, particularly with stories as strong as these. The music and sound design are also up to the high standards Big Finish has established on all its releases.

Overall, The Ordeals of Sherlock Holmes is a great box set that offers fans of Sherlock Holmes fresh stories that feel true to the spirit of Sherlock Holmes.

Rating: 4.0 out of 5.0

Audio Drama Review, Golden Age Article

Audio Drama Review: Return of the Jedi (the Original Radio Drama)

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As the movie-viewing public awaits the seventh Star Wars film in December, we’ve been taking taking a look at the radio dramatizations. See my reviews of Star Wars and the Empire Strikes Back

While Star Wars and the Empire Strikes Back were dramatized within four years of their release date, it took twelve years for Return of the Jedi to be made due to behind-the-scenes drama. It didn’t come until 1996 and was produced by Highbridge Audio.

Compared to Star Wars, this radio adaptation did a far better job in taking the visual excitement of the source material and turning it into good audiodrama that painted pictures for the audience. The story was expanded in a few cases but generally remained faithful to the original story. They do a great job painting audio “pictures” of scenes like the madness of Jabba’s lair and Luke’s post-victory vision. The sound design is simply marvelous as is the direction with narration used naturally most of the time.

Unlike The Empire Strikes Back, the roles of Luke Skywalker and Lando Calrissian had to be recast with Joshua Fardon as Luke and Arye Gross as Lando. Fardon does a superb job as Luke. His voice is similar to Hamill’s and his acting is equally good, perhaps better in a few places. Gross is less satisfactory as Lando, though acceptable. Ed Asner plays Jabba the Hutt and does as good a job as the film.

The rest of the returning cast of major players turn in wonderful performances with Anthony Daniels as C-3PO, Brock Peters as Vader, Ann Sachs as Leia, and Perry King as Hans Solo. John Lithgow is far better as Yoda in Return of the Jedi than he was in Empire Strikes Back. 

Return of the Jedi works as the final act of this trilogy as the conclusion of our journey. In the first two  films  and the first half of this one, we see the characters struggle. Timidity, greed, fear, selfishness, treachery, and arrogance are things the characters  exhibited during the course of this trilogy. Yet, the end of Return of the Jedi, you see them at their very best in a glorious ending. The final episode of the Radio Drama captures the joy, exhilaration, and redemption of the end of one of the greatest science fiction sagas ever.

This is a tremendous adaptation with solid acting, superb sound design, and the brilliant music of John Williams.

Rating: 4.25 out of 5.00

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Audio Drama Review: The Adventure of the Perfidious Mariner

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The Sherlock Holmes Audio Drama The Adventure of the Perfidious Mariner was originally released by Big Finish to coincide with the 100th Anniversary of the Titanic disaster. It’s set during Holmes’ retirement to Suffolk to raise bees. The story finds Holmes estranged from Watson, who is grief-stricken after his second wife died aboard the Titanic. Watson’s visit to Holmes is disrupted by Bruce Ismay, an executive of the line which owned the Titantic. He escaped from the ship alive while many women and children sank into the sea and he was viewed as a cowardly villain. Ismay asks for Holmes’ help because he believes he’s being haunted by a specter–a specter that’s leaving people dead in its wake.

Overall, this production is an emotionally meaty story. Unlike many actors who have played Holmes in the past, Nicholas Briggs makes changes to his characterization to reflect the aging of the character. There are slight changes to his voice, but more to his mannerisms. In one scene, Holmes has deduced Watson’s entire reason for coming. Watson says he doesn’t care how Holmes knew he’d come. Holmes tells him anyway as if on auto pilot. Watson has some great scenes with Ismay. The mystery itself is engaging, but not the main attraction of this story. What makes this tale work so well are the great character interactions and the thorough historical research.

Rating: 4.5 out of 5.0

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Audio Drama Review: The Hound of the Baskervilles

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The Hound of the Baskervilles is like the Christmas Carol. You don’t watch or listen to an adaptation to find out what happens but to see how well the creators have captured the story. Big Finish does a superb job of capturing the spirit of the Hound of the Baskervilles in  a very traditionalist adaptation. Amazingly, the entire program was recorded and rehearsed in a single day.

The cast is  wonderful. Richard Earl has got the part of Watson nailed and that’s vital since most of the story centers around him. John Banks and Charlie Norfolk did Yeoman’s work, playing five parts and three parts respectively. They did it so seamlessly, I didn’t know they didn’t have separate actors for each part until I listened to the Extra’s CD. Samuel Clemens is very compelling as Sir Henry Baskerville. And of course, Briggs is great as Holmes.

Of course, what  makes the piece so atmospheric over audio is the sound design and music, coupled with Earl’s narration and they did an incredibly good job in post-production. It captured the spookiness and suspense of the story. Overall, Big Finish does Doyle’s most legendary story justice in a superb adaptation.

Rating: 4.5 out of 5.0

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Audio Drama Review: The Reification of Hans Gerber

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The Reification of Hans Gerber is an original Sherlock Holmes audio drama written in the twenty-first century. However, if you weren’t familiar with the Doyle canon, you’d be hard pressed to know that this was written by Doyle himself.

The plot captures the feel and atmosphere of Holmes without retreading over old ground. Holmes is called in to investigate the death of a wealthy man who left behind three nephews and a niece who expect to inherit until the will disappears, then one man is set to inherit. At first, it’s the eldest cousin, but a disowned relative named Hans Gerber emerges to claim the estate. It appears he’s out for more than the old man’s money when one of the cousins is murdered. The mystery is thoroughly engaging from start to finish.

Nicholas Briggs turns in his usual superb performance as Holmes, and Richard Earl plays Watson perfectly in the Edward Hardwicke tradition. One of the reasons the story feels so authentic is the amount of narration and description involved and Earl is a superb narrator. The other outstanding performance was Terry Malloy who plays Inspector Bainbridge, a police inspector who shows an amazing amount of competence.

It’s hard to overstate how much I enjoyed this. Pastiches so often fail to capture the feel of the original or are so busy inserting modern sensibilities and personalities into the story that they feel out of place. The authenticity of the story is outstanding. It’s tour de force  in writing, acting,  and production values.

Rating: 4.5 out of 5.0

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Audio Drama Review, Sherlock Holmes

Audio Drama Review: Sherlock Holmes: The Final Problem / The Empty House

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The second series of Big Finish’s Sherlock Holmes range kicks off with the adaptation of the two Sherlock Holmes stories. “The Final Problem,” where Sir Arthur Conan Doyle attempts to kill Holmes off,  and “The Empty House,” where Holmes returns.

As writer/star Nicholas Briggs admits, these are not traditional adaptations.  In the previous adaptation, a bonus talking book of “The Speckled Band” was released with a word-for-word reading of that story. This is similar but this production dispenses with “He said.” Otherwise this is a  straightforward, almost word-for-word adaptation of Doyle’s stories with most of it told through Watson’s narration or Holmes narrating to Watson what has happened previously. As such, the strength of these adaptations rest on the strength of the underlying story.

However, Big Finish does add some nice touches. There’s an emotional core in these stories that Richard Earl, as Watson, does a superb job of capturing. Briggs turns in a solid performance as Holmes, playing the character perfectly as written, even when he’s being smug in “The Empty House.”  And one of the most interesting and subtle things they do in “The Final Problem”is tell the narration as Watson writing this down, and we hear the pen crossing the paper and the sound of pen will change and become more pronounced at certain emotional points. It’s a simple bit of sound design, but it’s  clever and adds something interesting to the production.

These are solid, dramatic readings with a good soundscape added in. However, given the wealth of material and the countless adaptations of these stories, the appeal of this release is limited and this would be the last time Big Finish used the format for Sherlock Holmes.

Rating: 3.75 out of 5.00

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Audio Drama Review: The Empire Strikes Back Original Radio Drama

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The Empire Strikes Back was adapted by NPR soon after its release, just as the original Star Wars film was. Mark Hamill and Anthony Williams once again reprised their roles as Luke Skywalker and C-3PO with Billy Dee Williams also joining the cast as Lando Calrissian. The rest of the roles from the movie were filled in by other actors with Ann Sachs as Leia, Perry King as Hans Solo, Brock Peters as Darth Vader, and introducing John Lithgow as Yoda.

Compared to the solid Star Wars Radio Drama, the ten part Empire Strikes Back is a far better production. There’s hardly any padding (and none after the first episode.) The production works perfectly as an Adventure radio serial rather than a supplementary derivative of its source material. There’s quite a bit of extra running time and it’s all used to good effect and the big winner is the character of Hans Solo who is fleshed out even more than in the film. The audio drama fleshes out his relationship with Luke as well as Leia.

Perry King started off a bit shaky in Star Wars as Hans Solo, but he gives a really compelling performance here and his interpretation of Solo is different but just as good as what Harrison Ford did on the screen. Ann Sachs turns in another great turn as Princess Leia and again, the audio makes her a much stronger character.

The same thing goes for Brock Peters who is absolutely brilliant as Vader, who also gets more scenes in the course of the search for rebel base and for Vader. Peters has captured the essence and menace of Vader while offering his own twist.

Anthony and Billy Dee Williams as well as Hammil turn in good performances that are little different than what they did on screen.

The sound effects and music are exactly what you’d expect from Lucasfilms and the action is really well-executed. The awkward adaptations from screen to audio in Star Wars has become much more seamless and natural.

Probably the only really disappointing aspect of the production was John Lithgow as Yoda. Lithgow is a talented actor who has gone to much bigger and better things, yet while Peters, King, and Sachs took their iconic roles and made them their own, Lithgow essentially does a so-so imitation of Frank Oz’s performance. It made me wish they’d just gotten Frank Oz in the first place.

Still, despite that weak spot, this is one of the best Audio Drama series I’ve heard. It shows greater appreciation for the medium and really hits it out of the park, making this iconic story come alive.

Rating: 4.75 out of 5.0

 

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Audio Drama Review: The Death and the Life

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The Death and the Life is another one-man play starring Roger Llewellyn and written by David Stuart Davies adapted by Big Finish Productions. The story is a mix of fact and fiction as it centers upon Arthur Conan Doyle’s efforts to rid himself of his most famous creation once and for all with the writing of “The Final Problem” and failed.

The play imagines Holmes and his fellow characters reacting to Doyle’s actions and scheming. Doyle’s disinterest is reflected in a hilarious scene where Holmes describes a madcap adventure to a snoring Watson. The story is bolstered by the use of Doyle’s own journals and letters. Another great scene is the one which Holmes learns he’s a fictional character from his arch-rival who is not too pleased that he’s been created by Doyle as a single-use plot device.

With its light comedy and heavy symbolism, The Life and the Death  is a story about a literary creation whose popularity transcended the writer who created him. The play is helped by another strong performance from Roger Llewellyn who manages to perfectly portray all the characters and angles of this very deep and well-written play. Overall, this is another story that’s a wonderful listen for fans of Sherlock Holmes.

Rating: 4.5 out of 5.0

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Audio Drama Review: The Last Act

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The Last Act brings Roger Llewellyn’s long-running, Sherlock Holmes, one-man play to audio. The story finds a somber Holmes reflecting on his life and career after Watson’s funeral. It’s an emotional and occasionally heartbreaking performance as Holmes reflects on his friend and his career. “You never appreciate the best things, the best people, until they’re gone.”

Not every moment is somber. There are humorous moments as Holmes will reflect on one of his friend’s oddities or on Lestrade’s unremarkable career that saw him never rise above Inspector.

The play covers a variety of ground. From “The Abbey Grange” to “The Speckled Band” “The Final Problem” and “The Empty House” and The Hound of the Baskervilles and many more, Holmes offers his reflections on his cases and it’s a Tour de Force performance.

I enjoyed the second half far less as it offered insights into Holmes’ dark secrets, including his little discussed childhood. On one hand, this explained Holmes being merciful in one particular case. On the other, there’s a certain modern conceit that tries to explain everything anyone does as a result of some childhood trauma to provide motivation. This can be seen in superhero fiction where so many characters’ origins are being rewritten reflect that sort of trauma. It becomes somewhat monotonous in fiction when no one ever does anything good, noble, or heroic unless a parent was killed or was abusive, or some other trauma occurred to explain it.

I also didn’t like the way Holmes’ drug use was addressed. In the books, Watson claims to have weaned him off cocaine. However, the play insists Holmes’ use continued unknown to Watson and it leads the play into a dour place. While some would argue this is more realistic than the books (which removed the cocaine habit as it became socially unacceptable) and it might be clever to undermine audience expectations by moving from downbeat to depressing, I wasn’t pleasantly surprised by the turn.

Still, the play is well-written even if I have issues with the tone, Llewellyn’s performance as Holmes (and twelve other characters) is pitch perfect and thoroughly engaging. He captures Holmes as a man trying to come to terms with the greatest loss in his life as a lifetime of emotional restraint begins to ebb away. I only wish the play had a more satisfactory conclusion.

Rating: 4.25 out of 5.0

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Audio Drama Review: Poirot’s Finest Cases

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Poirot’s Finest Cases collects eight different BBC audiodramas starring the late John Moffat as Poirot and dramatizing eight memorable Agatha Christie Stories.

1) The ABC Murders-Classic case as Poirot receives notices of murders in advance of  seemingly random people tied to the first letter of their last name, and the city they live in with an ABC railroad schedule left behind. A brilliant plot that is very well-adapted. Grade: A

2) After the Funeral: The death of a wealthy man appears to be natural causes, but then his sister suggests it was murder and she is soon found dead herself. A good case, and a solid adaptation. Only weak spot was Poirot as narrator narrating about obvious reasons for why certain people should be suspected. Grade: B+

3) Death on the Nile: This is my favorite Poirot story and this adaptation is simply marvelous. While it lacks the flair of the Ustinov version, this captures the essence of the story. If you wanted complain about Death on the Nile, I suppose you could point out the almost absurd number of romances that spring up on this boat. But, I think that serves to balance out the unhappiness that dominates the “A” plot. Overall, this is a great portrait of Poirot as a character and an absolutely brilliant adaptation. Grade: A+

4) The Murder of Roger Akroyd: One of Christie’s most controversial tales because of the identity of the murderer. I thought the TV adaptation was only “so so,” but BBC Radio 4 manages to do the story justice. It really is a clever and remarkable tale and manages to outperform the 1930s adaptation for the Mercury Playhouse with Orson Welles. Grade: A-

5) Murder on the Orient Express: Perhaps, the most iconic of Christie mysteries. It’s perfectly executed over radio. This requires multiple accents (including several Americans) and they’re all performed quite well. Grade: A

6) The Mysterious Affair at Stiles: The first ever Poirot story in which he solves the murder of a wealthy woman. I really enjoyed this adaptation. With all the great stories that followed, it’s easy to forget how good this one was. It establishes so much about Poirot in terms of mannerism, but is different as Poirot is closer to Sherlock Holmes in his first story. Still, this is incredibly enjoyable. Grade: A

7) Peril at End House: Another somewhat underrated story. It’s the classic tale of misdirection and of Poirot being pulled out of retirement. It’s incredibly and involved tale. I love how Moffat plays the beginning where he’s claiming to be content in retirement but his voice tone betrays it. Grade: A

8) Three Act Tragedy: This is probably the most questionable title in the set. Given that’s it’s Poirot’s Finest Cases, it’s odd to feature a case where Poirot is out of action for so much of it. This, like the other stories, were originally broadcast in five parts. Poirot’s role in the first three parts could be considered middling as he doesn’t actually actively join the investigation until the end of episode three and doesn’t take charge until the end of episode four. Most of the investigation is carried by amateur detectives. The story’s certainly good, but doesn’t really have the material to rise to the top echelon of Poirot stories, even with laying aside the issue of how much Poirot’s in it. I will say that I enjoyed the character moment in episode 2 when Poirot reflected on his life. Grade: B

Throughout all these stories, John Moffat makes a great Poirot. While David Suchet is the definitive Poirot on television, Moffat had a parallel run over radio lasting from 1987-2012 where he adapted most major Poirot novels and he was Suchet’s equal in many ways. Moffat was great in every story here.

As for the rest of the cast, Simon Williams (Counter Measures) appears as Captain Hastings and Philip Jackson (who played Inspector Japp on television) appears as Japp in The ABC Murders and The Mysterious Affair at Stiles. The cast of the rest stories are very good, bringing the type of talent you expect from BBC Radio 4.

The sound design is good, particularly on Murder on the Orient Express. 

However, the theme music for the majority of the episodes seems to have been chosen without much thought. It could best be described as, “This is the 30s” music. It’s very generic and sometimes doesn’t fit Poirot or a mystery story at all.

It also seems they could have done a little more with the way the episodes are presented. Essentially, each story is five episodes long and is divided into two chapters with two and a half (or so) episodes per chapter as you’re listening to it. It seems they could have combined each story completely or at the very least had each episode as its own separate chapter which would have made things more neat and symmetrical-which Poirot would appreciate.

If I’d been making the set, I would have substituted Five Little Pigs and Cards on the Table for After the Funeral and Three Act Tragedy. 

But these are extremely minor points. The mysteries themselves are superb and more than justify the minor annoyances over presentation. Given that the set sells for less than $20 for the general public and less than $14 for Audible members, this is an item I highly recommend for any mystery fan.

Rating: 4.75 out of 5.0

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Audio Drama Review, Golden Age Article

Audio Drama Review: The Twilight Zone Radio Dramas, Volume 1

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The Twilight Zone was one of television’s most remembered and enduring dramas from the 1950s and 60s, running from 1959-64 and then being revived for a movie in 1983, and revival TV series from 1985-89 and again from 2002-2003.

Carl Amari, best known for his work at Radio Spirit, brought the Twilight Zone to radio in a series starring Hollywood actors and narrated by Stacey Keach, who took over for Rod Serling as narrator. The stories are often expanded and updated to the reflected the twenty-first century technology and society. We’ll take a look at the first volume of Twilight Zone Audio Dramas from Audible.com which collects six stories.

“Night Call” features Mariette Hartley playing an old shut-in who begins receiving disturbing calls with nobody there. The story is creepy and Heartley’s performance is perfect as she manages to play this character with gusto and depth. I found the ending a little disappointing but that is due to the original story.

“Long Live Walter Jameson”-Lou Diamond Phillips plays Walter Jameson, a professor with a secret. The father of the woman he’s about to marry discovers photos of Jameson dating back to the 19th Century. Phillips turns in the best performance of the set and the story has a classic Twilight Zone feel to it.

“The Lateness of the Hour”-In a house full of androids, with a middle-aged couple and their daughter, the daughter (played by Jane Seymour) is fed up with their artificial life and wants something far more real. It’s a wonderful Science Fiction story with a classic twist at the end.

“The 30-Fathom Grave”-Is a good and proper ghost story with kind of a classic feel as a 1960s Submarine comes upon the wreck from World War II and one crew member goes a little beserk over it.The story has a period feel—for the most part. The series had the idea of giving a woman the role of the ship’s doctor, but you don’t have to be an expert in military history to know that wouldn’t have been the case. Either moving the story forward a couple decades or having a male doctor would have made sense. In the case, the woman doctor on the 1960s Naval vessel came off as a distracting anachronism.

“The Man in the Bottle” features a modern day genie that offers a couple who owns a pawnshop four wishes Ed Begley, Jr. stars in a tale that’s amusing and has its own subtle lessons, though some of them unintended.

“The Night of the Meek” is probably the biggest disappointment of this collection. As made starring Art Carney, the story was a Christmas classic. Chris McDonald steps into Carney’s role and almost sleepwalks through it. The expansions and the revisions of the story make it even weaker. I will admit that, on reflection, “Night of the Meek” had its problems and if done wrong would have come off almost as bad as the audio version if not for the fact that Art Carney was in the lead and the future Oscar-nominated Actor was able to take a performance that would have been forgettable and make it gripping and real. Sadly Mr. McDonald was out of his depth in terms of doing this for radio.

Overall, this is a good collection with some good audio quality, some solid soundscapes, and mostly well-done musical production. I will admit the appeal of these audio dramas is probably a bit less than it was in 2002 when they first began. With the development of Netflix and Amazon Prime, coupled with 4G networks, many people can watch any episode of the original Twilight Zone anytime and anywhere they want and in most cases the originals are still better.

Still, if you’re a fan of audio drama, these are worth a listen. It’s particularly noteworthy for allowing us to hear many modern American actors in audio drama. Beyond those in this first set John Rhys-Davies, Louis Gossett, Jr.  and Jason Alexander are among the stars who found themselves in the Twilight Zone.

In addition to the sets on Audible, you can download three episodes off their website with a subscription to their newsletter.

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