Sherlock Holmes: The Voice of Treason is an Audible original Audio Drama written by George Mann and Cavan Scott and starring Nicholas Boulton as Sherlock Holmes and Kobna Holdbrook-Smith as Doctor Watson.

Holmes is called in when Queen Victoria disappears from her rooms, threatening the stability of the British Empire. Can Holmes unravel the mysteries surrounding the royal household, and find the Queen and save her?

This is a very involved piece. Both Holmes and Watson are solidly cast. Holdbrook-Smith does seem a little a bit too into the buffoonish takes on Watson at times, though I think that’s more an issue of the script than anything else. The supporting cast is solid from the top to bottom, which is saying something, because this has such a huge cast of characters, with not many cases of doubling up. The sound design is also well put together and does a great job of recreating the feel of the late Victorian era.

What made me nervous about the release was the time of it – eight hours. That’s very long for an audio drama. I wondered if we’d get a GraphicAudio-style story with a lot of narration in-scenes, as if a novel is re-enacted word-for-word.

It wasn’t that. Mann and Scott are both talented writers and their core story is actually a compelling mystery with some very good twists included. It’s a story where you’d best be patient, because it can seem like they’re not being true to the characters, but it does come out mostly right in the end. Yet, eight hours is a long time. It’s enough for around three Big Finish Sherlock Holmes box sets or sixteen episodes of the Jim French Productions Further Adventures of Sherlock Holmes, and not all that time is well spent. The plot can be a bit over-complicated at times, and include such diversions as a card game featuring radical labor leaders, an estranged relative, etc. The story starts out really slow, with events that are only tangential to the main plot. While all these are not bad, they feel very much like padding. The story could have lost two to three hours of runtime while still maintaining its core story and being better-paced.

Still, if you’re a Sherlock Holmes fan out for a long car ride, or who has a series of long commutes, this is not a bad listen. There’s a really compelling story at the heart of it and if you’re in for a more relaxed and leisurely pace to your adventure, this could be a worthwhile listen.

Rating: 3.5 out of 5

This post contains affiliate links, which means that items purchased from these links may result in a commission being paid to the author of this post at no extra cost to the purchaser.

Big Finish’s latest release of the Avengers features three different comic strips from the Steed and Peel era of the 1960s television series starring Julian Wadham as Steed and Olivia Poulet as Emma Peel.

In “Seven Deadly…Assassins”, Steed and Peel are sent on a ship where they are charged with guarding a valuable jewel. However, they find themselves amidst a group of assassins themed around the seven deadly sins and with a grudge against them.

This is very much a typical Avengers story with themed villains, a fun location, the quips, etc. It does lack some of the punch other comic adaptations. As writer Roland Moore points out, this was from a holiday special without cliffhangers. Still, it’s a fun story, and it’s written with a good understanding of what to expect. The performances are good even with the archest and most on-the-nose characters. It’s a fun time, and hits the right marks, but doesn’t quite have the pizazz of the better stories.

In “Stand and Deliver,” Steed and Peel are invited to a Highwayman’s Ball at the house of a nobleman/scientist. It turns out the ball is a set up to find out who is a spy within the British Secret Service, and Steed is a suspect.

In the case of many stories with this sort of plot, it might be fair to complain about how convoluted the story is, but this is the Avengers, and no villain ever cares about doing anything in a simple, direct way. This story is a fun listen that has a lot of twists and turns, and combines elements of a few different genres to make for a good romp.

Radio Archives often comes up with unique offerings that separate it from other old time radio sellers. Such is the case with its two-volume release of the Australian serial adaptation of Les Miserables by Australian actor/producer George Edwards.

Transcription disks of the fifty-two episode 1949 serial are not in general circulation, so this has been a treat that has not been heard in decades.

The sound quality is immaculate and I expect nothing less from this company. Radio Archives has consistently shown a talent for bringing these golden age treasures to listeners in sound quality that exceeds what most original listeners heard over the radio.

The classic story follows Jean Valjean, an ex-convict who spent nineteen years in prison for stealing a loaf of bread and for subsequent escape attempts. On his release, Valjean is forced to carry a yellow passport that causes would-be employers and landlords to repel him, but his life is changed forever by the kindness of a bishop.

Les Miserables is a massive work with a giant cast of characters and no adaptation can capture everything. Still, the story seemed to get most of the essential and best-known elements of the novel and makes it fit into the serial format. Episodes five and six are missing from the collection, but I didn’t really feel I missed much by their absence. Episode four ends just after Valjean’s encounter with the Bishop and episode seven starts just after Valjean has become mayor of a small town under an assumed name. Even basic familiarity with the story kind of allows you to fill in the blanks and Valjean himself summarizes important details.

The story does take a few twists noticeably different from the book, and ends in a very different way, which may offend literary purists, but is nevertheless is still a reasonably satisfying ending to the story.

There were a couple moments I questioned in this. Given the limited time for the adaptation, it was odd that the story includes both Valjean as a prisoner showing a feat of strength and Inspect Javert having a flashback to that exact same scene a few episodes later. A little bit of exposition or a shorter flashback would have provided economy and more time to expand the story. Or they could not have shown the scene at all the first time, since we were going to have Javert remember.

The sound design and music on the production is, for the most part, standard and competent in a way that you’d expect from a production of the era. It uses similar themes and musical bridges over and over again. But there are also some high points in the series that really are brought home by some really outstanding musical arrangements.

The unnamed cast is solid. There’s not a weak performance in the entire company. The actor who plays Inspector Javert delivers the best performance. He brings out Javert’s manic madness in a way that’s captivating. He makes every ridiculous, mad step Javert takes in the story completely believable. In another context, the performance might be over the top, but this actor nailed the performance and captured the character of Javert in a way that really elevates the entire production.

Radio Archives released the set in two volumes. The first collected episodes one through four and seven through twenty-seven. The second volume collected volumes twenty-eight through fifty-two.

If you’ve listened to and enjoyed other George Edwards serials such as The Adventures of Marco Polo or if you’d just like to hear a fresh serialized take on Les Miserables, this is a collection worth listening to.

Radio: 4.5 out of 5

Volumes 1 and 2 of Les Miserables are available to purchase as downloads on the Radio Archives websites.

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, Nicholas 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

If you enjoyed this post, you can have new posts about Detective stories and the golden age of radio and television delivered automatically to your Kindle.

This post contains affiliate links, which means that items purchased from these links may result in a commission being paid to the author of this post at no extra cost to the purchaser.

A version of this review was posted in 2015

Editor’s Note: A previous version of this review was posted in 2014.

The plot of Death on the Nile is familiar to me. In the past,  I’ve reviewed the Ustinov big-screen version and the David Suchet version.   Recently, I was pleased to enjoy the BBC Radio 4 version.

It can seem odd to listen to, watch, and experience a mystery multiple times because to the viewer or listener, it’s no longer a mystery. We know whodunit and we know why. Yet, there are some stories that are so compelling that the stories never get old. And that’s definitely the case with Death on the Nile. 

The plot has Poirot (John Moffat) on vacation in Egypt and stepping smack into the middle of a huge drama.  Simon and Linnet Doyle are on their honeymoon being staked by Jacqueline, Simon’s former fiancee who he jilted in order to marry Linnet, who was Jacqueline’s far richer best friend. Poirot sees trouble coming and tries to head it off, warning Jacqueline not to let evil into her.  However, the tragedy occurs when Linnet is murdered with Jacqueline’s gun. However, Jacqueline didn’t do it as she had just attempted to kill Simon and had panicked and was staying with a nurse at the time Linnet died.

The good news for Poirot is that the boat is full of potential suspects or at the very least, people who have their own secrets to hide.  Thus Poirot has to sift through an amazing array of lies to find what really happened.

While you listening to the radio adaptation, you may miss the stunning visuals that defined the television and film adaptations, I think that the radio version may have been the best at capturing the emotional conflicts at the heart of Death on the Nile. The pacing is very deliberate. It was aired as a five-part drama, and the first murder didn’t occur until the end of part three. They really did a great job setting up the situation and the characters. The interactions between Poirot and Jacqueline are priceless, and the resolution to the secondary storylines add a more positive counterbalance that makes this enjoyable.

Death on the Nile is a great story that brings home the brilliance of the murder and the tragedy of the perpetrators in a way that captures the imagination and makes this a must-listen-to Poirot adaptation.

Rating: 5.0 out of 5.0

This post contains affiliate links, which means that items purchased from these links may result in a commission being paid to the author of this post at no extra cost to the purchaser.