The second volume of Paul Temple Radio Adventures collects all of the surviving BBC’s Paul Temple radio serials from the mid-to-late 1950s. These all star Peter Coke as mystery writer Paul Temple, with Marjorie Westbury as his wife Louise (nicknamed Steve) as they solve mysteries in cooperation with Scotland Yard.

Each serial is made up of eight thirty-minute episodes, which allows for well-developed mysteries. The show’s writer and creator, Francis Durbridge, made the series because of his love of the mystery novel. And I have to say that I’ve never encountered a radio series that felt so much like reading a vintage mystery novel.

There are a total of five serials in this collection: ‘The Gilbert Case’; ‘The Lawrence Affair’; ‘The Spencer Affair; ‘The Vandyke Affair’ (the 1959 remake) and ‘The Conrad Case’. The series was such that if you like one Paul Temple mystery, you’ll enjoy them all. Listening to these, I never encountered one that I thought was a let-down, nor did I hear one that blew me away.

Each story is well-constructed and honestly, a bit formulaic. Each story features loads of polite questioning of witnesses and suspects. Drinks will be poured frequently, with some tea mixed in here or there. Eventually, someone’s going to plant a bomb that nearly takes out our mystery-solving couple, the villain will have the idea of trying to abduct Steve to get Paul Temple off the case, often by calling the house and impersonating Paul Temple, a trick that happens so much that Paul and Steve have worked out a code phrase for it. In the final episode, when the killer is revealed, the killer doesn’t come quietly but invariably ends up with a frantic and desperate chance to escape. Despite these repeated plot points, the stories never become predictable, as we’re always given more than enough suspects and motives to account for several murders.

Coke came relatively late to the role of Paul Temple. ‘The Gilbert Case’ was his first serial playing the role, sixteen years after the first Paul Temple series premiered. He’s the best-known Paul Temple actor in part because all but one of the serials he starred in survived. His performance in these stories is superb, bringing the right mix of humor, seriousness, and occasional moments of annoyance, plus his pitch-perfect delivery of Temple’s signature phrase, “By Timothy!” Marjorie Westbury wasn’t the first actress to play Steve, but she first appeared as Steve nearly a decade before Coke, and played the role opposite four different actors as Paul Temple. Her voice was perfect, conveying the wit, fun, vitality, and glamour that listeners associated with Steve. Together, the two are delightful to listen to.

The only individual production I’ll mention is ‘The Vandyke Affair’, which is actually a 1959 remake of a 1950 serial that happens to be one of the two pre-Peter Cook Paul Temple serials that exists and was released as part of Volume 1 (see Volume 1 review). In that 1950 story, Coke appears as one of the suspects. The script is essentially the same, so fans who own both volumes can compare the performances.

The set also includes a bonus feature with interviews of Coke, Westbury, and others involved in the production of the Paul Temple radio series, providing a little extra behind-the-scenes insight.

All in all, if you enjoy comfortable, well-crafted, upper-class British murder mysteries from the 1950s, this is a fantastic set to purchase. With more than eighteen hours of entertainment, this is a great value, particularly if you purchase the set with Audible credits. You’ll be sure to have a great time with Paul Temple and Steve.

Rating: 4 out of 5

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In Family Time Audio Theatre’s musical Jimmy and the Star Angel, Jimmy and Samantha, a young brother and sister, are dealing with their first Christmas without their dad. On Christmas Eve, Jimmy destroys one of his father’s Christmas tree ornaments, which leads to them being shrunk to the size of ornaments. All the ornaments on the tree come alive. Jimmy and Samantha need their help to reach the top of the tree by dawn to ask the Star Angel for help, or risk being turned into Christmas ornaments forever.

If you like Babes in Toyland or the Wizard of Oz, Jimmy and the Star Angel is that type of journey, so you’re sure to enjoy it. This magical quest up a Christmas tree is full of imaginative and fun characters. It’s also an emotional journey for Samantha and especially Jimmy.

The music in this is great. The songs alone are worth the price of the purchase. They vary in tone, mood, and purpose, but they’re all fun. I loved the swinging “Snowman Spectacular” and the penultimate song “Star Angel” is still bouncing around in my head more than a week and a half after I listened to it.

While the plot is a fantasy, there’s an emotional throughline for  Jimmy and Samantha that’s moving. I also found the use of the Christmas trees to be interesting. Jimmy’s family has passed down ornaments for years. The idea that these ornaments serve as a family connection through the generations is well-presented, and it helps to serve as a solution to the problem.

The plot has minor issues that adult listeners will pick up on. The villain, the pirate Scrimshaw (Jerry Robbins), feels like he’s been written because these stories need a villain, which leads to the less-than-satisfactory way in which he’s dispatched, as well as the strained way he’s brought in. That said, though Scrimshaw is not necessary to the plot, Robbins (who wrote the play) is a lot of fun in the role. I like the idea of a Christmas Tree ornament seeking revenge against the boy who broke him.

Overall, this is a great production for the whole family. I recommend you try it out and see if it becomes a tradition like your favorite Christmas tree ornaments.

Rating: 4.5 out of 5

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

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 continues to put out new episodes in the world of that classic TV Spy/Mystery series The Avengers. As is the case with every volume of Avengers from Big Finish, Julian Wadham stars as John Steed and in this volume, Emily Woodward returns as Tara King, with Christopher Benjamin starring as the spymaster, Mother.

This box set features three stories adapted from serialized scripts in the British magazine TV Comics. Each strip was only a few pages long, and is expanded upon by a Big Finish writer into a full hour-plus audio drama.

The period when The Avengers included the character Tara King was one that had gone very solidly in a more silly, over-the-top direction, and this set reflects that sensibility.

It kicks off with “The Fabulous Sky Beam Dilemma.” Steed and Tara King are charged with serving as bodyguard and tour guide for a visiting President, as well as investigating a series of strange, unexplained stomach illnesses.

Bad propaganda movies, silly accents, and mind-control-flavored ice cream: this story has a lot going on in it, with so many outrageous over the top moments. There’s a lot of fun to be had if you can just go with the silliness.

For the most part, I could. What I took issue with is how the story was resolved. The character that figures things out and saves the day isn’t who you would think, and it’s not done in a way that seems clever or satisfying.

Still, the ending weakens but does not ruin a solid hour of entertainment.

In “A Tale in Tartan,” with Steed unavailable, Tara King is off on her way to a Scottish castle to retrieve a stolen formula that “the other side” means to use on their athletes to boost their chances at the next Olympiad. However, there are strange goings-on at the castle. And what about McSteed (also played by Julian Wadham), the guy who looks like Steed but only with a beard, and speaking with a Scottish accent and wearing a kilt?

This is a tricky story to evaluate. It’s weird that there would be a comic strip set at a Scottish castle, given that there was an actual Avengers episode set at a Scottish castle, and a comic strip sequel to that (which Big Finish has adapted in “Return to Castle De’ath”).

That said, this is a decent story. It’s always entertaining, but like many an Avengers story from this era, it has an over-the-top setting and general feel, with so many odd and weird things happening, and off-the-wall characters. It never becomes too much, nor does the story reach some ascendant level of brilliance. Rather, we’re treated to a solid, weird, and ever-so-slightly grounded Avengers Highland tale. It’s different enough from the Castle De’ath stories as to not feel derivative, while still being a good time.

The set concludes with “This Train Terminates Here.” A special train is nearly derailed because of a collapsed viaduct, but is saved by the chance action of a passerby. However, the derailment was no accident. The train was carrying a shipment of gold bouillion bound for the IMF. Something sinister is behind it, and it’s up to Steed and Tara King to sort it out.

This story is a delight, as it draws its inspiration from the world of British trains and the odd characters that inhabit them. The late Paul O’Grady is the perfect Avengers villain as the sinister station master gone bad, Septimus Crump. He clearly played the part with gusto.

The story also features one of the best Audio Action scenes you’ll find in a tense and thrilling climax on a runaway train. The story also is full of witty lines and clever train puns. This is one of the best Avengers stories Big Finish and a perfect conclusion to this set.

All in all, if you’re into off-beat 1960s mystery/adventures, this is a solid set. The production values are top notch and the writers nail the feel of the era. There are two very good, though not perfect, stories, combined with another story that represents the pinnacle of this range with Big Finish. Well worth listening to.

Rating: 4.0 out of 5.0

.The Avengers: Steed and Tara King is available at the Big Finish website.

Volume 6 of Radio Archive’s Great Gildersleeve features the final two episodes of the 1941-42 season and the start of the 1942-43 season, with Harold Peary as the Great Gildersleeve, Earle Ross as Judge Hooker, Lurene Tuttle as his niece Marjorie, Walter Tetley as his nephew Leroy, and Lillian Randolph as the household’s cook and housekeeper Birdie. Featured are episodes from the last two weeks of June and then from between August 30 and November 22, 1942. As always, Radio Archivesdelivers these episodes in the highest possible sound quality

The penultimate Season One episode features a similar gag to other Gildersleeve episodes, where family and friends create confusion by going at the same end without telling one another. In this case, it’s the goal of getting Gildersleeve a new chair for Father’s Day. It’s a simple idea, but well-executed and before the episode is over, chairs are being moved in and out with a dizzying degree of comic absurdity.

The final episode of Season One features Gildesleeve trying to romance Judge Hooker’s sister, Amelia, despite the judge’s objection. While Gildersleeve and the judge have many battles in the first season, the finale offers the most satisfying. It also previews some of the romantic plots that would make up later seasons of The Great Gildersleeve, only condensed into a single episode.

The Season Two episodes really saw the series starting to take on a form more familiar to those who have encountered later seasons of The Great Gildersleeve. Gildersleeve has an ongoing interaction with the Summerfield Water Commissioner that ends with him being appointed to the job. We also hear  the Gildersleeve cast expand, with barber Floyd Munson (Mel Blanc), along with one of the most important Gildersleeve supporting players, Mr. Peavey (Richard LeGrand). LeGrand joined Peary in three of the four Great Gildersleeve episodes.

Unfortunately, the characters seem to just appear in the series. This may be because the three episodes prior to their first appearance are missing. So it’s possible there was a more fitting introduction to the characters that were originally broadcast but have since been lost.

The series also introduces Southern Belle widow Leila Ranson (Shirley Mitchell) as Gildersleeve’s crush. Leila is a bit of a flirt who uses her “wiles” to manipulate men (particularly Gildersleeve and his rival Judge Hooker) into doing her bidding. Mitchell plays another Southern Belle character in Season One, but this one would stick and be part of Gildersleeve’s life off and on for years to come.

The War and related government messaging remained part of the show, with the plots being used to hone key points. Summerfield was hit with an October snowstorm to educate the public about the importance of buying coal early and completing conversions from oil-powered to coal-powered furnaces necessitated by wartime shortages. Four weeks later, in response to a government directive to stay home to cut down on expenses and consumption. Gildersleeve, in a sort of Goofus and Gallant example of how not to follow the directive, stocks up on food and supplies and even buys a new piano for his quiet evening at home, which quickly goes awry and becomes a house party.

Overall, The Great Gildersleeve was headed in the right direction. Summerfield started to feel less like it was inhabited solely by Gildersleeve’s household and Judge Hooker and the episodes were generally even funnier than the first season’s already strong outings. On the other hand, I do think that setting up Judge Hooker as Gildersleeve’s rival for Leila Ranson’s affections just doesn’t work with the way the Judge was generally portrayed in the series. It feels like the writers needed Gildersleeve to have a recurring rival and didn’t want to introduce a new character. Never mind if it made sense.

It’s worth noting that the show seemed to forget its own continuity and imagine that Gildersleeve had been in Summerfield far longer than he had, with references in the Thanksgiving episode to Judge Hooker always eating Thanksgiving with Gildersleeve when this was only Gildersleeve’s second Thanksgiving in town and Hooker wasn’t there for the first one. However, while it might annoy modern listeners, it’s hard to consider it a demerit against the series, as most programs didn’t take continuity seriously. And given how long Gildersleeve would be on the air, a year or so here or there is not a big deal.

I think all of the episodes in this set are solid, without any weak ones in the bunch. However, my favorite episode had to be the one where Gildersleeve is appointed Water Commissioner. While any OTR fan knew Gildersleeve was going to get the appointment, it really does take an interesting journey to get there. Judge Hooker tells him he’s a shoo-in for a job and Gildersleeve takes it seriously. But Hooker had only been joking. Gildersleeve and family go into overdrive to play up the big event. Hooker realizes too late that they’ve taken it seriously, and Marjorie has to figure a way to save her uncle from further embarrassment while a dejected Gildersleeve stays at home.

The episode gives a brief exploration of the feelings of an over-the-hill man who wants to be of service at a time when younger man are going off to war and has had that chance seemingly snatched away. At the same time, for once, Marjorie is given a pivotal role in the story. Lurene Tuttle was one of Hollywood’s most talent radio actresses, yet rarely got a chance to show it.  Her going to bat for her uncle is one of the best moments of the series so far, with Tuttle really showing how great an actress she was. And with this little bit of drama, the story is still a lot of fun, with even the happy ending coming about in a humorously ironic way.

At this point, The Great Gildersleeve was a series on the rise. After a solid first season, The Great Gildersleeve chose to build on it successes rather than resting on them.That bold direction pays off as each Gildersleeve box set continues to be stronger than the last one.

Rating: 4.5 out of 5

Dragon’s Domain is the Third Box set in British Audio Drama producer Big Finish’s re-imagining of the Gerry Anderson classic series, Space 1999. It stars Mark Bonnar as Commander John Koening, Maria Teresa Creasey as Doctor Helena Russell, Timothy Bentinck as Space Commissioner Simmons, and Glen McCready as Alan Carter.

The series follows the adventures of the inhabitants of Moonbase Alpha after the Moon was blown from its orbit and sent into deep space in the events of the two hour adventure Breakaway. Like the previous two box sets, there are three episodes in this set.

First up is “Skull in the Sky.”

After the opening theme, we find ourselves on a very different Alpha than we’re used to. It’s Planet Alpha and Commissioner Simmons is Governor, ruling a semi-Police State after exiling Commander Koenig after the apparent death of Alan Carter. He delivers an oration on the anniversary of his sacrifice that allowed the discovery of water that allowed life to come to the moon.

Things get complicated when an Eagle is spotted…Alan Carter’s Eagle.

This has a nice mystery plot while also allowing the regulars a chance to play slightly different versions of their typical characters. More than that, the series builds to a satisfying, mind-blowing conclusion that leaves listeners and a few of the leads with a lot of questions.

The second story is, “The Godhead Interrogative:”

Dhashka Kano is trying to decode the relic left by the alientZantar at the end of the previous box set. While some think she’s become obsessed, the situation becomes a top priority when a hundred engines attach themselves to the moon and begin pulling off on a course with a strange world.

This is a very solid story with a great sense of mystery with a bit of the vibe of the movie, Arrival.  There are some great, realistic and grounded twists and surprises along the way. It’s emotionally and intellectually engaging. If I had any complaint, it was that Alan Carter got a bit annoying in this episode with his focus on Dhashka’s work habits.

The conclude episode is the titular story, “Dragon’s Domain”

Volume 5 of the Radio Archives Great Gildersleeve (the third featuring Harold Peary) collection brings us near to the conclusion of the first season of The Great Gildersleeve. While it might have been nice for the set to conclude that season, The Great Gildersleeve produced 44 episodes. Even with the few missing episodes, that’s a lot of material to get through, and even three twelve-episode sets hasn’t been enough. There are two more season 1 episodes in Volume 6.

The series was initially conceived and launched prior to Pearl Harbor, but at this point, it was firmly on a war footing, and reflects many elements that became part of everyone’s lives for the duration. There is an episode on a Victory Garden that Gildersleeve, Judge Hooker, and Leroy plant together. There is also a Victory Ship christening that Gildersleeve and his family have to find some way to get to. Gildersleeve’s niece Marjorie volunteers to write to soldiers overseas and gets so overwhelmed with requests that it gets outsourced to the rest of the family, writing in her name. The shortage of rubber and the need to carpool with gasoline rationing comes into play more than once. These little glimpses at life during the War adds a good deal of historic insight to the comedy.

However, it’s not all war for Gildersleeve and family. There’s an attempt made to introduce recurring characters in the form of new next-door neighbors. While I think the episode where the neighbors are introduced is pretty funny, as Leroy ends up getting Gildersleeve committed to a fistfight, the only recurring character is the hyper daughter of the house, which is hardly a unique character idea.

Gildersleeve’s frenemy relationship with Judge Hooker takes a couple of interesting turns. First, to counterprogram Hooker’s well-received radio lectures, Gildersleeve creates an alternate persona as a mystery radio singer who gets a timeslot opposite Hooker on another station and steals Hooker’s audience. This serves to introduce the element of Harold Perry lending his solid singing voice to the program, which would become a more prominent part of the program and lead to his departure in 1950. Later in the series, Hooker gives Gildersleeve a spare tire inner tube, leading Gildersleeve to organize a tribute dinner. Given that Gildersleeve is organizing it,  it proves the adage that no good deed goes unpunished, as Gildersleeve nearly wrecks Hooker’s reputation in the process.

Probably the best episode in this set is “Gildersleeve’s Goat, Horace.” A stray goat adopts Gildersleeve and his family and turns their world upside down, as the goat becomes a menace to the community. I have to give high marks to the production team for the great job they did in this season creating stories around animals using some solid sound effects skills.

If the series has one thing that got repetitive, it is the number of stories that involved con men. Three different episodes in this set feature con men trying to fleece Summerfield’s residents. It’s particularly noticeable that the first two episodes in the set (which were separated when they aired by another, lost, episode) were both about con-men-related stories. Of course, coming up with fresh ideas every week is a challenge when you have to turn out forty-four straight weeks of programs.

Overall, this set is a lot of fun while also being insightful. Listeners who don’t mind too much about flaws related to the the era or the challenge of putting out 44 weeks of programming will enjoy it even more.

Rating: 4.25 out of 5

The last few years, I’ve completed rankings of the top ten individual stories from the British audio drama producer, Big Finish. This year, I’m doing a top eleven list due to a special circumstance in this year’s story that we’ll talk about in this post.

As usual, I can’t claim to have listened to ALL of Big Finish’s magnificent output. My listening has been mostly to its Doctor Who and related ranges (for which Big Finish is most famous), but I’ve also listened to their Sherlock Holmes, The Avengers, Space 1999, and UFO releases. As the late great Regis Philbin once stated, “I’m only one man.” So I haven’t heard everything.

I’ll also warn that there’s some continuity notes ahead because as good as these stories are, most come from series that are not quite as straightforward as in years past.

11) I, Kamelion by Dominic Martin, read by Dan Starkey

This story is a bit of a surprise. It came as an interlude (aka an hour-plus long audiobook) for those who bought The Fifth Doctor Adventures: Forty, Volume 1, the first of two box sets to mark the fortieth anniversary of Peter Davison debuting as the Fifth Doctor. But this one is interesting and it features an unlikely hero: Kamelion.

Kamelion was a shapeshifting robot introduced in Davison’s second season. He was to be a companion for the Fifth Doctor, but the robot didn’t work. He was brought back over audio by Big Finish a few years back in a series of stories. My problem with that series was that it made Kamelion the central focus, and only served to show him as a problematic figure who constantly made life difficult for the TARDIS crew. Leave it to Dominic Martin to give us a story that gives Kamelion his due.

Kamelion finds himself having become an actual human being, not (as happened on the TV series) just disguised as one. He has to figure out what happened, and several peoples’ lives, including that of the Doctor and Turlough, are on the line.

The story is emotionally satisfying and explores Kamelion’s character in a very effective way, as well as showing how he relates to the other characters. While other stories have had robots inhabit human bodies, I thought that writer Dominic Martin added some really nice touches in exploring what that would mean to the robot.

Kamelion is a disliked or at least disregarded companion, but this story at last gives him a chance to shine and to make a difference in the best way possible. This was just a real treat to listen to.

10) The End by Rochana Patel and starring Jacob Dudman from The Eleventh Doctor Chronicles: Geronimo

This is part of The Eleventh Doctor Chronicles in which actor/impressionist Jacob Dudman portrays the Eleventh Doctor, who was portrayed on television by Matt Smith. In this story, the Doctor and his new companion Valerie Harper (Safiyya Ingar) arrive on a spaceship in peril twice simultaneously. In one timeline, the Doctor has been poisoned; in another, it’s Valerie. Together they have to solve the mystery of what’s going on.

This story has a lot going for it. The concept puts a fresh twist on the sort of time-wimey madness that happens in Doctor Who at all levels, while at the same time really exploring the characters of the Doctor and Valerie as they are pushed to the edge in multiple ways. The same is true of the guest cast, who are immaculately written in this story.

9) The Outlaws by Lizbeth Miles and Starring Steven Noonan from Doctor Who: The First Doctor Adventures: The Outlaws

This story sees the debut of Stephen Noonan as Big Finish’s new First Doctor (who was played on television by William Hartnell), with Lauren Cornelius playing Dodo (originally played on television by Jackie Lane) and featuring comedian Rufus Hound playing the villain, the Meddling Monk.

The Doctor and Dodo arrive in thirteenth century Lincoln, as England is under attack by King Louie and the Sheriff is having to deal with constant attacks from outlaws.

There’s a lot to like about this. It does a great job capturing the feel of a Hartnell-era historical. The story leans more into the comic rather than the tragic style of historicals. There are some really fun, delightful moments, with a few deaths to bring things back down to Earth.

Stephen Noonan is superb. He plays the first Doctor with a twinkle in his eye that comes through the audio. He does such a great job capturing Hartnell’s Doctor, even turning Hartnell’s “mistakes” into part of the performance.

Rufus Hound once again is excellent, playing in a scheme that’s a bit more consistent with where the Monk began as a character. Hound and Noonan are particularly fun together, with superb performance chemistry.

8) The Prints of Denmark by Paul Morris and starring Wendy Padbury and Rufus Hound from Doctor Who: The Companion Chronicles, The Second Doctor, Volume 3:

Radio Archives’ The Great Gildersleeve, Volume 4 collects twelve episodes of The Great Gildersleeve from late November 1941 to late February 1942. Two episodes are missing from the collection; one, “Cousin Octavia Visits”, is in circulation but with much weaker sound quality than the ones in this collection. Still, I recommend listening to that one online because it shows how much the show’s focus and tone began to shift as America entered World War II. The contrast between the episode that was written before Pearl Harbor (but aired with breaking news bulletins, creating an odd contrast) and the one that followed it was striking.

“Cousin Octavia Visits” is a typical sitcom plot, where a spoiled child relative acts sweet initially but turns into absolute hellion once Mommy’s gone. The next episode finds the family in a financial crunch after Gildersleeve (Harold Peary) draws out most of their savings to buy defense bonds, while the housekeeper, Birdie (Lillian Randolph), shares her dark fantasy of poisoning Japanese soldiers. Don’t get me wrong, this volume’s not all patriotism and bloodlust. This set features some very funny episodes, but most episodes after Pearl Harbor reflect the subtle and not-so-subtle ways the War changed people’s lives.

The plots have a lot of great humor that center around comic misunderstanding, Gildersleeve throwing his weight around, and his inability to back out of an embarrassing situation. They also make good use of the fact that no one seems to communicate, which leads to, for instance, multiple people trying to sell the same Iron Deer statue from scrap metal. In another episode, the family ends up in a hilarious bidding war when Gildersleeve decides to surprise his daughter Marjorie (who is getting Red Cross training) with a bedroom makeover, only to find out that Marjorie (Lurene Tuttle) has hired someone else to do the job for her after they’ve already purchased a new bed. Gildersleeve’s son Leroy’s (Walter Telley) childhood hijinks serve as the basis for two episodes, one where he gets hold of Gildersleeve’s cigars, and another where he runs away from home.

The series also tries an expansion of the cast. Arthur Q. Bryan (best known as the voice of Elmer Fudd) arrives in the Cousin Octavia episode and stays on for another episode before departing. He’d return without the classic Elmer Fudd speech impediment later on in the series.

My three favorite episodes in the box set were: “Arrested as a Car Thief”, where a simple task of driving Leroy and some rabbits he’d been raising to an agricultural exhibit becomes a massive ordeal, involving horrible roads and multiple cases of mistaken identity; “Leroy Runs Away”, which has some similarities with mistaken identity, and not just of people, and also allows Harold Peary a rare dramatic moment and he doesn’t disappoint; and, my favorite, “Selling the Drugstore”, where Gildersleeve has been lecturing Leroy about the value of honesty and George Washington. Leroy takes the lesson to heart and then begins to hold Gildersleeve accountable for telling the truth. It leads to a lot of funny moments, but it also has a moral without being too moralizing. It also has one of the best comic twists in the set.

My least favorite episode (though by no means a bad one) is one where Marjorie’s Red Cross group needs education in fixing cars, and because Gildersleeve has been overheard talking about his prowess fixing sewing machines, he gets roped into teaching a class of female Red Cross trainees how to work on automobiles. It has some humorous moments and fun jokes but it’s just a little too contrived and disconnected from any sort of reality or logic for my taste.

Overall, this another solid set of restored episodes that really showcase the foundation of The Great GIldersleeve as one of America’s great radio sitcoms.

Rating: 4.5 out of 5

Murder from the Bridge and Six More collects a total of seven audio dramas written by Steven Olney and chronicling the adventures of retired police captain Waverly Underhill (Dave Ellsworth), as reported by his faithful friend Doctor Scofield (Wally O’Hara).

The series was broadcast as part of The Cape Cod Mystery Theater and has a wonderful local flavor to it, similar to the way The Adventures of Harry Nile captures Seattle. These sort of productions are really fun and I wish there were more solid detective audio dramas written in locations throughout the country. I will also say right off the bat that if you’re looking for detective stories that aren’t your typical whodunit, you’ll probably find a lot to like in this set.

The set opens with Murder from the Bridge, which is the shortest release in the set. Captain Underhill arrives to take a young man to the spot where his uncle jumped to his death from the Sagamore Bridge in an obvious case of suicide…or is it? This is a really good, suspenseful piece that builds tension and allows Captain Underhill to really shine, and show that sort of Columbo-like cunning of putting a killer at ease before bringing down the hammer.

In The Mystery of Anna Gale, Underhill investigates the apparent kidnapping of a little girl. This is a good one for showcasing Doctor Scofield’s superior humanity, and his ability to understand and be gentle with kids as a lifetime family doctor. It has an unusual and surprising solution.

The Curse of the Whale’s Tooth is a really solid Gothic mystery complete with a family curse, a cursed heirloom, and the mysterious appearance of a lion. It evokes a sort of New England Hound of the Baskervilles vibe, with a very modern twist ending.

The Mermaid on Halloween Bridge is about a mysterious mural of a topless mermaid being painted on Halloween Bridge. The painter is a young woman who is painting at night to avoid getting into trouble, and there’s an old man with gout who doesn’t like it and calls the police. This is a hard one to evaluate. My biggest problem is that Captain Underhill is shoehorned into the story. There’s a police shortage so severe that they decide to put the 70-year-old retired police captain out on the beat driving a prowl car that makes two appearances. The second problem is that it’s not really a mystery story as most fans expect. Technically, I guess the question of who is painting a mural is a mystery to the townspeople, but it’s not really a mystery to listeners. The story is not bad at all. The characters are decent, and the acting’s good, but the story is eighty-nine minutes long. There’s not enough going on in this story to make this worth a feature-length listen. This should have been no more than 45 minutes.

In The Case of the Automatic Murders, Waverly investigates a case where a young woman is waking up at night and apparently writing very creepy and spooky things in her journal. This one is a decent mystery with a good amount of atmosphere and probably one of the more spooky ones in the set.

The final two were released posthumously, after the death of star Dave Ellsworth.

The Spirit of Christmas finds Captain Underhill investigating an assault and robbery on a blind Salvation Army bellringer. This is probably the most humorous Captain Underhill adventure, although I really found its resolution to be a bit morally problematic.

The set concludes with The Final Case of Captain Underhill. Underhill had often jokingly pretended he was senile or had dementia. In an ironically sad twist of fate, our story ends with him on the cusp of the last stage of dementia, with only a few lucid moments. His friend of 50 years, Doctor Scofield, is working on staff at the facility where Captain Undersell is being cared for, so that he can be near his friend until the day comes when Underhill doesn’t remember him anymore. Underhill discovers a plot that could ruin the life of two young people and is determined to help them. Can Captain Underhill save the day one more time?

On one hand, this is a fitting final adventure that shows Underhill’s strength of character, tenacity, and resourcefulness, even when facing the toughest challenge of his life. On the other hand, without being maudlin, the story captures the devastating effects of Alzheimers and dementia on those who suffer it, and the heartbreak of those who care for them. It’s a poignant story that never feels manipulative, and is probably the best-written of the Captain Underhill stories.

This is a solidly written and well-acted set of stories. While there are stories I don’t like as much as others, on the whole I enjoyed the set. Waverly Underhill was truly a great detective and his adventures continue to be well-worth listening to.

Rating: 4.0 out of 5

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The Great Gildersleeve was one of radio’s landmark comedies, which really brought along the development of the sitcom. Throckmorton P. Gildersleeve (Harold Perry) was a character introduced on Fibber McGee and Molly.  The character proved so popular, he was given his own series. He departs from Wistful Vista and his thriving business (Gildersleeve’s Girdle Works) to Summerfield to help take care of the financial affairs of his niece Majorie (Lurene Tuttle) and his nephew Leroy (Walter Telly) after the deaths of their parents. Gildersleeve ends up forced to permanently relocate to Summerfield after some misunderstanding by Judge Hooiker (Earle Ross).

Most of the circulating Gildersleeve episodes are in so-so condition, so checking out Radio Archives’s Great Gildersleeve collections seemed a good way to enjoy this series. We’re starting with Volume 3 because Volumes 1 and 2 were collections of later “lost episodes” from 1951 and 1952 that had recently been discovered. This collection features twelve programs and eleven of the first twelve episodes that are in circulation. The Audition was from May 1941 and the episodes collected are from August 31-November 16, 1941.

If you’ve listened to later episodes of the series, these can feel a bit barebones in terms of the supporting characters. It’s striking that these episodes don’t even feature Mr. Peavey (Richard LeGrand), let alone the entire stable of characters who would be introduced in subsequent seasons, and who give Summerfield the feel of a real town. Instead, the focus is on the family, Judge Hooker, and their housekeeper, Birdie (Lillian Randolph). In a way, this is an asset, as the show gets to establish its main characters in these more carefree days, prior to Pearl Harbor and America’s entrance into World War II.

The comedy works very well for the most part. Peary is in top form as Gildersleeve, providing pitch perfect delivery of his lines. Peary’s take on Gildersleeve is known for his signature laugh, but the noises he makes go far beyond that, as he emits a staggering number of perfectly timed comedic noises. Peary also has a few solid catchphrases, which can have different meanings depending on his tone of voice, such as, “You’re a bright boy, Leroy.” Earle Ross is a perfect foil for Gildersleeve, and these scripts go a long way to establishing the Judge and Gildersleeve as frenemies, a theme that would play out in the first Great Gildersleeve movie.

The first episode and audition are essentially the same, with a few minor differences. The largest is that, in the audition, Harlow Wilcox from Fibber McGee and Molly appears, to make an ad for that show’s sponsor, Johnson Wax, as the sponsor hadn’t been nailed down yet for the first episode. The first episode has a typical commercial for the show’s ongoing sponsor Kraft in its place. The episode is about GIldersleeve taking a trip to Summerfield to handle the estate of Marjorie and Leroy’s parents and accidentally annoying Judge Hooker, who forces him to take a long-term relocation. After that, the series is essentially episodic for the rest of the set.

The plots are deceptively simple. The second episode has Gildersleeve and Leroy returning home and eating a cake that Marjoie had baked for guests. However, their efforts to remedy the situation turn it into comedy gold. Simple plots, like everyone getting locked out of the house, Gildersleeve and Leroy visiting an old friend and ending up babysitting, and Gildersleeve trying to get thrown in jail to expose local corruption, are all well-executed. The characters are likable and generally well-intentioned. Gildersleeve is more competent than many old time radio protagonists, but his big mouth, pomposity, and tendencies to exaggerate lead to some really good comedy. The writers often include ironic twists that, when revealed, make everything else funnier.

The last episode in the set is the first Thanksgiving episode of the series. In November 1941, America (even though not involved in World War II) was strengthening its defenses and many new soldiers were being inducted. Summerfield is home to an encampment of new soldiers, and Gildersleeve gets the idea of inviting servicemen for Thanksgiving and encourages everyone in town to do so. He goes down to the Army camp the next day, in the hopes of collecting a serviceman, only to find they’ve all been taken. He has to fight with Judge Hooker to take home with one serviceman. It’s an absurd situation, but also one that reminds modern listeners that a new, less carefree era was on its way for Gildersleeve and the city of Summerfield.

The series does have some issues that could be nitpicked. In particular, it struggles with its relationship with Gildersleeve’s former show. The first episode sets up Gildersleeve as living in the same world as Fibber McGee, only having to moved from Wistful Vista recently. Yet, at another time, the series refers to Fibber McGee and Molly as people with a radio show. Also, the first episode had a major goof. It’s established at the start of the episode that Fibber McGee and Molly are out of town, but Judge Hooker calls them at Wistful Vista in the end to get a reference, and talks to Fibber McGee.

Howerever, this is modern-day nitpicking. Overall, for an eighty-year-old series, the opening episodes of The Great Gildersleeve are a delight that mostly stand the test of time quite well.

Rating: 4.25 out of 5

The Great GIldersleeve, Volume 3 is available from Radio Archives.

The Fiends of New York City is Big Finish’s latest three-hour Sherlock Holmes release, starring Nicholas Briggs as Holmes and Richard Earl as Watson. It’s set after Watson’s latest marriage to an American actress and after the events of The Seamstress of Peckham Rye. (See: my review here.)

The story proper begins when a man claiming to be an American detective arrives on Holmes’s doorstep with an incredible story. However, he and the object of his pursuit disappear, and Holmes and Watson are beset with more troubles and mysteries, including the return of the elusive Seamstress of Peckham Rye.

The Fiends of New York City is an enjoyable ride through late Victorian London, with a lot of complex twists and plot turns. For the first two parts, the story may be the best we’ve seen from writer Jonathan Barnes, who has written many great Holmes releases. The sound design and acting are impeccable.

Yet, the final part, and in particular, the ending, is a bit frustrating. The core mystery is given a resolution and we’re told that certain things are likely to happen to certain people and Mycroft Holmes and the Seamstress of Peckaham Rye and maybe Sherlock Holmes are all playing games, but we have no idea what the endgame of any of this is. Given that this was cited as a conclusion to the previous release, the ending feels like an anti-climax, in the same way that The Seamstress of Peckham Rye was. While I was fine with that ending, repeating the trick multiple times leads to diminishing return, particularly without a clear indication that the story is going to be more fully resolved.

I can hope that these issues will be sorted out by the end of a future story, but it is frustrating to reach the end of a three-hour audio drama and feel no closer to understanding anything important going on with these characters than when you first started. This is a shame because apart from the weak ending, this was a very entertaining release.

Rating: 3.75 out of 5

The Fiends of New York City is available from Big Finish.

The Life of Riley was a radio sitcom that aired from 1944-1951 and starred William Bendix as Chester A. Riley, an aircraft riveter from Brooklyn who moves to California and eventually settles into a bungalow with his wife Peg (Paula Winslow), his daughter Babs (Barbara Ellis), and his son Junior (multiple actors including Tommy Cook and Alan Reed, Jr.). The series has many episodes in circulation and many episodes missing. The Life of Riley went through three distinct phases during its seven-year run.

1. War Worker Riley (1944-45)

From the beginning, Riley was known for his malapropisms and bizarre thought processes, but in these early years, Riley wasn’t near the dope he’d be portrayed as in later seasons. He was involved in essential war work, and in the middle of World War II, you didn’t make essential war workers out to be idiots. He developed one of the best comedy catchphrases of all time, “What a revolting development this is,” and it was often used either in moments of exasperation or surprise, sometimes even when there was a positive surprise after he’d worked himself into a lather.

There was plenty of comedy to be had, particularly caused by the free-loading character of Uncle Baxter (initially played by Hans Conreid). In addition, the housing crunch of the late War era impacted the Rileys, and they spent several episodes struggling to find a place to live. While not all episodes of this storyline remain, … there’s quite a bit of humor in their various ups and downs and what they have to do to find a place to stay. The series also captured another aspect of the war: proxy weddings. In one two-part story, confusion ensues when Riley has to stand in for a deployed bridegroom. The series also featured heartfelt stories, like when Riley invites the boss’s son over for Christmas and teaches him the true meaning of the holiday, or when the Rileys throw a New Year’s Party for troops departing by train.

John Brown would appear as Riley’s neighbor and friend from Brooklyn, Jim Gillis. Gillis would often be Riley’s pal but would also antagonize him.

2. Riley, the Well-Meaning Idiot (1945-50)

After the war, the writers seemed willing to make Riley a bit more ridiculous. Yet, he was still well-meaning. He unleashed havoc because his mind went off in weird directions and he misunderstood a situation. He only wanted the best for his kids, but sometimes comedy resulted from it.

The series also featured several recurring characters. In addition to Gillis, RIley had another neighbor named Waldo Benny (Dink Trout), a hen-pecked husband who stoked Riley’s worst fears to comic effect. Of course, the greatest supporting character on the show was the morbidly hilarious Digby “Digger” O’Dell (aka: “The Friendly Undertaker”) (also played by Brown). O’Dell’s appearance followed very rote procedures, often including his greeting of Riley, “You’re looking fine, very natural,” and his complaint about youths stealing signs from other businesses and placing them in his window. But the character often found a surprising way to turn the conversation back to Riley’s problem with a morbid twist. Digger is such an unusual character that it’s a stand-out in the golden age of radio. Alan Reed played the recurring role of Mr. Stevenson and Riley’s father-in-law, along with other characters.

There were also quite a few flashback episodes to when Riley and his wife Peg were in Brooklyn. This set the stage for other programs to do this a lot, such as The Dick Van Dyke Show, although The Life of Riley really made no attempts to put this into any continuity. In fact, none of the post-World War II episodes have much continuity, which allows for some script re-use.

It was a good run, but nothing lasts forever. The series’s decline over radio began with the introduction of Louella (Shirley Mitchell). Louella was the type of Southern belle character Mitchell was known for playing on a wide variety of programs, including The Great Gildersleeve. She’s a single woman who moves into the neighborhood and gets Riley to do things for her, like household chores and buying her gifts. The joke is that Peg and many people think there’s something between Riley and Louella, and Riley even thinks Louella’s trying to seduce him, when there’s nothing going on. However, knowing that it bothers Peg, Riley continually engages with Louella throughout the entire rest of the series. It wasn’t funny, particularly after the first Louella episode. No married man with any sense would do that to his wife, even Chester Riley. It was a bad turn for the series and a preview of what was yet to come.

3. Riley, The Terrible (1950-51)

The last season of The Life of Riley contains the worst character violation in old-time radio that I’ve ever heard. Riley by definition was a well-meaning family man. In the second episode of the 1950-51 season, the Rileys finally get a new car, and Riley and Peg take their driver’s tests. Riley fails the driver’s test because he didn’t study and has a horrible driving exam. Peg gets her license. Despite this, Riley insists on driving, gets into an accident, and tries to get Peg to take the rap for him. She ends up nearly going to jail, when he had been driving.

This is just one example. In another episode, Junior gets together with some other boys to start a lawn-mowing service, and Riley takes over and turns them into virtual slaves to his massive ego. A similar thing happens with a father-and-son concession stand that Riley and Junior start and that Riley ruins when he goes on a huge ego trip. In this season, Riley is transformed from a well-meaning but dim-witted husband and a father to an out-of-control narcissist. It’s often hard to find joy in these later, more cynical episodes.

John Brown’s Digby O’Dell continued to be a highlight, but his appearance and statements became increasingly disconnected from the plot. It’s as if old Digger O’Dell couldn’t care less about Riley’s self-inflicted problems caused by being a horrible person. And who can blame him?

The series did rebound a little towards the end, but its 1951 cancellation really put it out of its (and its audience’s) misery.

Bendix would reprise the role of Riley when the series returned to television in 1953, and the episodes I’ve seen lean more towards the lovable Riley of the early radio seasons, as opposed to the nasty 1950-51 version.

As a series, it’s a solid episodic family sitcom for most of its run, but the 1950-51 season is one of the worst seasons of a long-running show that you’ll find in Old Time Radio.

The first six years of the Life of Riley earn a 4.25 rating, but I’ll give the overall series a rating of 4 based on the horrendous final season.

You can listen to episodes of The Life of Riley on the Internet Archive for free.

Raymond Chandler’s Philip Marlowe novels have been adapted twice by the BBC. The most recent adaptations from the early 2010s starring Toby Stephens have been available as official releases for quite a while under the very similarly named collection Raymond Chandler: The BBC Radio Drama Collection. However, this relatively new collection (released in 2020) contains the 1970s and 1980s episodes, starring Ed Bishop, an American actor best known for his works with British producer Gerry Anderson.

Bishop starred in adaptations of the first six Marlowe novels, although the second novel was performed last due to rights issues: The Big Sleep, The High Window, Lady in the Lake, The Little Sister, The Long Goodbye, and Farewell, My Lovely.

Bishop is a strong choice to play Marlowe and his voice is probably better for the character than Toby Stephens, who starred in the more recent adaptations. Stephens uses a tough-guy accent like Marlowe came from the streets of Philadelphia or New York. Bishop’s voice sounds more like the Marlowe from the books, who, as revealed in The Little Sister, came from a small town. That said, it’s been a while since I’ve listened to the Stephens-led dramas, so I won’t comment on how Bishop’s performance compares in every detail. The BBC having given this an official release might allow me to do some fun comparisons as to which version better handled individual novels.

The acting is very good and they avoided the worst tendencies of British drama that feature American characters. The BBC’s portrayal of Americans were often hit-or-miss up until the 1990s, with exaggerated accents that made the entire thing very hard to take seriously. Here, the acting is right on the mark. Whether they were working with a lot of ex-pats like Bishop, or simply British actors who were skilled with American accents, I was never pulled out of the story by a bad or silly performance.

The sound is minimal and a bit primitive, but not more than most British Audio Dramas prior to the 21st Century.

The stories themselves are well-told and for the most part capture the spirit of the novels. They even did a good job adapting my least favorite novel of those featured here, The Little Sister. The biggest fault with the adaptation was an over-reliance on expository narration. Narration would be something you’d expect with hard-boiled detective stories, and in most productions, it works just fine. The problem is that each adaptation was fit into a very rigged hour and a half time slot. This worked fine for most of the novels, but for others, it didn’t. The Long Goodbye requires a lot of tough adaptation decisions as to what to include, what to exclude, and what needs to be condensed. The BBC chose instead to not decide and use expository narration a lot. Throughout The Long Goodbye, it felt like a third of the runtime was Marlowe expositing scenes that occurred off-air that probably should have been on-air. The result is an adaptation that feels a bit lifeless. This was also a problem, to an extent, with the adaptation of Farewell, My Lovely.

I think the other four stories are well done, and Farewell, My Lovely is still pretty good, but the adaptation of The Long Goodbye is disappointing despite the story being considered one of Chandler’s best.

The release includes a nice bonus, a 1958 interview of Raymond Chandler by James Bond creator Ian Flemming. The interview is really much more of a conversation between two friends who are both some of the most popular writers of thrillers in the 20th Century. It’s nice to hear it as if you’re a fly on the wall in the room.

Overall, if you’re a fan of Raymond Chandler and Philp Marlowe, this is worth checking out. Despite a lackluster treatment of The Long Goodbye, this is still a good value, particularly if you use an Audible Credit to purchase it.

Rating: 3.75 out of 5

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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

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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.