The Adventures of JAGO AND LITEFOOT

Big Finish’s Doctor Who plays have proved enormously successful…but the company has had more modest success with other franchises, leading to them to occasionally look to Doctor Who for something that will tie into the franchise…even as it allows them to stretch creatively. Which led them to…Jago & Litefoot. A couple of characters first — and last — seen in the perennially well-regarded 1970s TV serial Dr Who: The Talons of Weng-Chiang.

Set in an archetypical Victorian London of fog and back streets, Professor George Litefoot (Trevor Baxter) is a police forensic pathologist and Henry Gordon Jago (Christopher Benjamin) a bombastic theatre impresario with an amazing ardour for alliteration who aided the Doctor and Leela on that adventure. On a whim, Big Finish reunited the actors for one of their Companion Chronicles enhanced audio books (The Mahogany Murders)…and were so struck by the potential, and the genuine chemistry between the actors, and how easily they re-inhabited their roles (after 30 years!) that they decided to launch them into a series of full cast audio plays, with the unlikely duo investigating strange events and mysterious goings on — from werewolves to psychics.

Funnily, despite the inherent humorousness of the characters — particularly Jago (Litefoot is played more straight) — leading one to think they were intended as an answer to the popular audio comic-thrillers of The Scaryfiers (which BF had begun distributing for Cosmic Hobo Productions) the plots are actually serious. There’s lots of humour and comedy, but basically arising from the characters and to leaven the drama, rather than as an out-and-out parody. And it works tremendously well, succeeding as being both like Dr. Who (in that they are thrillers involving steampunk sci-fi and the supernatural) yet with their own tone and flavour, most notably because the heroes are more “everymen.” The lead characters are the stories’ anchor, delightfully realized and exceptionally well performed by Benjamin and Baxter who you really would assume have been playing these roles for years, they seem so comfortable with them and with each other (indeed, their performances are even better than in the old TV serial!) The humour is well captured, the Victorian flavour (in themes, dialogue and period detail — Oscar Wilde even guest stars in one story) nicely evoked, and the plots interesting enough to keep you listening. An unexpected success.

BF has presented them in a series of “series” (or seasons) each of generally 4 one hour dramas, sold as boxed sets, each series usually made up of relatively stand alone adventures linked by a sub-plot/recurring nemesis to form arcs of four episodes. At this point I’ve heard Series I, Series II, and Series IV and all are generally highly enjoyable. I also listened to Dr. Who: The Companion Chronicles: The Mahogany Murders, which is more an enhanced reading by the actors as opposed to a full cast dramatizations (though acts as essentially the first episode in the Series I arc). The characters have also guest starred in some of BF’s Dr. Who audio plays, including the 6th Doctor stories Voyage to Venus and Voyage to the New World — both quite good, though with Voyage to Venus getting the nod as the more fun, while Voyage to the New World boasts the more ambitious plotting.

Dalek Empire (series I – IV)

Big Finish has been having great success producing popular (and critically acclaimed) Doctor Who full cast audio dramas, but is always on the look out to expand its line beyond simply Doctor Who. And part of that has been to try spin-offs from Doctor Who that could benefit from the association, while nonetheless allowing them to create a new property — ranging from Jago & Litefoot, to Graceless, to Vienna.

With Dalek Empire — mostly written and directed by Nicholas Briggs — they took  the recurring alien villains from Doctor Who and feature them in sagas in which the Doctor doesn’t appear — allowing them to create new heroes and, arguably, a darker, grittier air (since there’s no Time Lord in a magic box to sweep in and save the day). Think of it in the way there have been whole franchises created around the creatures from Alien, or The Predator movies — same villains, different heroes. (Funnily, I think there was talk of a Dalek-focused TV series in the 1960s!) And you don’t really need to be familiar with Doctor Who to listen to these (since the Daleks could be any alien invaders). There are occasional cryptic references but not important to understanding the plot here (though Big Finish preceded this series with a few official Doctor Who plays under the umbrella title Dalek Empire).

The potential downside for someone like me is that, for all the Daleks are Doctor Who’s most identifiable villains — they are really, really annoying. I mean, they are one-dimensional and their shrill voices are grating and the prospect of a whole (audio) series featuring them just seemed uninspiring. So I gave this a pass for a long time. But it turns out that at times it’s shockingly good!

Series I and Series II (2001-2003)

The first two series (four episodes per series and ranging from about 55 to 70 min each episode) form one eight episode arc, albeit with a shift in focus. The first series, instead of being simply plucky heroes getting into big fights with Daleks — which could be bland and just noisy in audio — actually goes for a more intriguing theme, about living under the occupation of the fascist Daleks. Two of the main heroes being Susan “Suz” Mendes (Sarah Mowat) and Kalendorf (Gareth Thomas) who manage to convince the Daleks they will get better use out of their captured populations by treating them humanely, rather than exclaiming “exterminate” at the drop of a hat. So Suz is working to save human lives, dubbed the “Angel of Mercy” in the occupied human colonies — but is equally viewed as a human traitor, the public face advocating collaboration with the Daleks. A moral quandary that eats away at her and Kalendorf both — even though they are secretly working with the resistance in a long term plan to overthrow the Daleks. As I say, it’s a smarter, more political/character based story than you might expect (and putting me in mind of the early 1980s U.S. TV mini-series, “V”, also about covert resistance under an occupation rather than simply shoot outs). Additional characters include a government agent, Alby (Mark McDonnell), more actively fighting Daleks on the outside of the occupied planets — but in love with Suz and trying to reunite with her. Although building to a climax after four episodes — it ends on a cliff hanger taking us into series two.

Here it’s more what I first expected — a lot of interstellar fighting with Daleks, except with an added twist that the humans have found an unlikely — and uncertain — ally. It’s certainly grandiose and “big-budget” — but it’s also quite compelling, with a heavy helping of secret agendas, double crosses, and moral quandaries, with maybe more focus on Kalendorf. That is season one could be seen as about Suz and Kalendorf (as well as Alby and others) while series two is more about Kalendorf and Suz (and Alby and others). There are some initially confusing, but ultimately effective, narrative tricks in the second series as each episode begins further in the story than you left it, as if you missed something — only to then have flashbacks fill in the gaps, And with the whole thing being framed by people millennia in the future reflecting back on the events. Although it ends setting things up for the third series set in this distant future, nonetheless the first two series form a complete and quite gripping epic. And one helped by good performances and interesting characters (and a nice, nonchalant use of U.K. dialects, with various characters English, Scottish, Welsh).

And with a special mention of Gareth Thomas, and a clever bit of typecasting — as Thomas is known to SF fans as the rebel hero Blake in TV’s Blake 7 (which Big Finish later added to its audio-only catalogue). So there is an added resonance to him playing another erudite sci-fi rebel — as if it’s Blake battling Daleks! He’s also just very good (based on this and other things I‘ve heard, Thomas seems fully comfortable with audio acting) — as is the cast in general.

For someone sceptical about the project, I must say the Series I/Series II arc is quite an impressive, intelligent, exciting and memorable sci-fi epic — all the moreso as it’s completely original to audio, as opposed to being adapted from some novel or something. To be honest, if it had been higher profile, written as a novel, or filmed as a movie or TV mini-series — I suspect it might be considered an SF classic!

Series III (2004)

Series II was framed by characters in a distant future learning about those long past events. Series III begins in that future — a future so far removed from the Dalek wars that the Daleks don’t even exist as a rumour! So when there are vague and unconfirmed reports about a possible incursion by mysterious “Daleks” it is treated more as a curiosity than a galactic threat.

In a way, Series III is more like what I might have expected from the series — at least, it seems like a more traditional Dr. Who type take on a Dalek story only, y’know, without Dr. Who. Yet it too emerges as a surprisingly exceptional effort — here spread over 6 episodes (although some of the episodes begin with a deliberately choppy mash-up of overlapping scenes that might put off a listener — but they settle down quickly into more conventional tellings). In this case the Dalek’s are just an added factor in an emerging galactic schism as some outer colony worlds start to secede from a interplanetary alliance, the regional schism partly fuelled by the colonies being struck by a plague and quarantined by the central worlds. A plague the Daleks claim they can cure, so form an alliance with the rebel worlds. So there are themes of prejudice, regional bigotry, fascism and “following orders.”

The strength here is the unusually big cast of characters. So we get a rather broad canvassed view of the building conflict, essentially three or four different storylines that slowly tie together, the various characters becoming drawn into each other’s story — ranging from planetary park wardens on a world who are the first to discover the Dalek’s sinister side, to Galactic intelligence agents trying to figure out what’s going on, and more. It’s also got a uniformly fine cast, including David Tennant, Ishia Bennison, William Gaunt, Steve Elder, Laura Rees and others all bringing the roles to life, giving us people that involve us (and, as mentioned, it’s an unusually large cast for a BF audio drama — indeed, the overall production seems like BF spared few expenses).

A special mention must go to David Tennant, whose character doesn’t even come into play until an episode or two, but quickly emerges as one of the central heroes. Tennant had already worked with BF on a few projects, and would shortly be cast as Dr. Who on TV. But despite Tennant facing off against Dalek’s — you don’t find yourself thinking of his Dr. Who too much, his character here sufficiently different. And Tennant always seems comfortable with audio and radio plays — and is an effective and vocally charismatic performer.

As I say, it might seem less “atypical” compared to Series I/II, but it’s equally ambitious in its own way and quite a gripping, top drawer effort, keeping you guessing where and how it’ll all tie together, and with interesting characters to keep you emotionally involved. You don’t generally need familiarity with Series I/II (given it’s set thousands of years later) but it does tie into it and make references to it occasionally. Strangely, although it does build to a climax, it still feels as though it was meant to continue into the next series since the climax is more about the heroes finally exposing the Dalek threat rather than actually stopping it. But maybe since Dalek battle stories are a dime a dozen in Dr. Who, they figured this was the more interesting story to tell.

Because by the time series IV came along (many months later) it had no relation to Series III and, indeed, was throwback to the era of Series I…

Series IV (released 2007)

As mentioned, series IV is a throwback to the era of series I — an untold story from another part of the war. It took a long time to get made, and one might wonder if that was partly because creator Nicholas Briggs himself was running out of ideas. Because it’s probably the weakest of the three arcs and it’s certainly the most traditional, or at least most like what I expected the series to be from the beginning. A big, brash, testosterone-driven, grunts in space adventure. In this case the focus is on a Salus Kade, a single-minded, takes no guff space soldier, as well as General Landen, the superior officer who first recruited him.

There’s plenty of action and shooting and daring space missions (the plot two or three stories that segue into each other). But even here there’s a certain ambition in terms of the characterization. At first Kade seems a bit one-note, just the driven, single-focus, soldier’s-soldier, but eventually you realize the characterization is kind of at the heart of it, and particularly the uneasy relationship between Kade and Landen. The casting is definitely aimed at Whovians, with Kade played by Noel Clarke (Mickey from the modern Dr. Who TV series) and Maureen O’Brien as Landen (who played young Vicky years ago during the Hartnell years). Both are good — especially O’Brien (ironic given she admits in interviews she doesn’t like sci-fi) — and nothing like their more familiar Who roles. Indeed, there was some suggestion that Kade was specifically written for Clarke as a counterpoint to his comical Mickey persona — and that the serious, macho Kade is closer to his real personality!

It isn’t that series IV is bad just, as I say, more what you would expect from the Dalek concept — and part of the reason I was hesitant to try the series to begin with. Though the third episode tries an interesting trick of telling the scenes in reverse order (unless there was something wrong with my copy!) which created an interesting suspense, as we’re waiting to see, not what will happen, but what led up to what’s happening. But the characters aren’t as complex (and being mainly soldiers, of limited personality types) and with its smaller core cast, the plotting isn’t as twisty.

So as I say: Series IV is certainly okay, and might better appeal to those who like their military SF ala Starship Troopers. But the early arcs are the more intriguing, with bigger core casts, and more Byzantine plotting — from the compelling political/moral dilemmas of Series I/II to the twisty, multi-character espionage-like plot of Series III.

All in all, for someone like me who was dubious about the Dalek-focus nature of the series, I’ve got to admit they delivered some surprisingly rich and ambitious — and entertaining — epics.

SILK: The Clerk’s Room

Silk was a BBC TV series about lawyers (“silk”, I believe, referring to the higher status lawyers aspire to — Q.C.). Anyway, BBC Radio then did a spin-off of 45 min. dramas after the TV series was over (3 episodes in 2014 though whether more might be a possibility, I dunno) — possibly just called The Clerk‘s Room (as opposed to Silk: The Clerk‘s Room).

I’ve never seen the TV version, but I’m assuming it was a fairly typical legal series, so my impression is the radio version drew upon some of the same characters and actors (including Theo Barklem-Biggs, Amy Wren, John Macmillan, Neil Stuke, Jessica Henwick and others)  but inverted the formula. That is, the TV series was mainly about the lawyers, with their clerks as supporting players — while in the radio version, the focus is on the clerks, with the lawyers more the supporting players. In England (moreso than in Canada or the U.S.) the clerks can kind of be the power-behind-the-throne in chambers (ie: law offices) as they organize schedules and dole out briefs according to what lawyer is available — so can have a big influence on how the office is run and even a lawyer’s career.

Each of the three episodes focused on a different junior clerk who narrated (the episodes titled “Jake”, “Bethany” and “John”) so taking on aspects of anthology, and with some time perhaps between episodes. Jake is featured in “Jake”, is a significant supporting player in “Bethany”…yet is supposed to have quit the chambers by “John.”

And the result is quite strong. Tightly-paced and the different perspective on a legal drama providing a novel grist for stories — though it might be significant that arguably the strongest was “Bethany” which, in a way, hews the closest to being a more typical court room drama, as Bethany takes pity on a lawyer going through a slump (and whom the head clerk is deliberately trying to freeze out) and more actively helps him with his trial. But all three episodes are well acted and interesting dramas and, as I say, benefiting from utilizing the familiar legal milieu in an unfamiliar way.

And, as noted, I haven’t seen the TV series so although I’m sure familiarity with it would be a plus, in order to appreciate some of the background to the relationships, it’s certainly not essential since I still found the stories quite compelling.

Inspector MORSE

Colin Dexter’s cantankerous, hard drinking police inspector whose beat is the halls of academia in Oxford, England has enjoyed success in print and on TV (played by John Thaw, and even leading to the successful spin-off, The Inspector Lewis Mysteries, wherein his sidekick is promoted and takes centre stage while utilizing the same milieu).

And on BBC Radio  some of the novels have been adapted into at least three feature length plays (some serialized in half-hour or 45 minute instalments). John Shrapnel is superb as the caustic, impatient anti-hero — obviously he’s working with an established, popular personality, but his delivery nicely captures the sense of a hard-to-like character who you do, nonetheless, like. And Robert Glenister is understatedly effective as his long-suffering sergeant, Lewis. And the performances in general are top notch, as is the sense of environment.

Of the three 90 minute productions, The Silent World of Nicholas Quinn (1996) is perhaps the most conventional detective-mystery, investigating an initial murder (of a deaf teacher/professor) and drawing upon the world of academia that’s at the heart of the series. While Last Seen Wearing (1994) has a more atypical hook, involving Morse and Lewis taking on, not a murder, but a missing person cold case that had been a private obsession of a recently deceased detective. Murder does eventually result, but it allows the story to unfold in a slightly different way. Both productions are enjoyable and compelling, with twists and turns, mixing mystery, drama, and wry humour, but I’d argue Last Seen Wearing stands slightly ahead.

The Wench is Dead (1992) is a deliberately atypical tale (funny, given it was the first they adapted). In it Morse is laid up in hospital and, simply for a hobby, begins re-examining a controversial murder case from over a century before. I think the novel itself was the most critically acclaimed of the Morse books, and was, one suspects, meant as an homage to Josephine Tey’s The Daughter of Time, which was also about a hospitalized detective playing arm chair detective with a historical mystery — though in that case, using real history (there‘s an effective reading of it by Paul Young produced for BBC Radio, and I think there may be a version read by Derek Jacobi). The Morse story is almost two tales — one is more a character drama of Morse laid up in hospital, and the other is the mystery (with flashback scenes). I enjoyed it more a second time through, buoyed by Shrapnel’s compelling performance, but didn’t find the mystery as twisty as in the other stories. So, still decent — but probably the lesser of the three plays.

But overall, the Morse radio dramatizations are top drawer.

PERRY MASON

Earl Stanley Gardner’s lawyer-detective first came to audio life in a 1930s radio series — though with curious results, as it was done as basically a soap opera, with Mason — and the crime element — present, but apparently not always dominant. When it morphed into a TV series, Gardner even refused to allow them to continue using the name, and it became…The Edge of Night (a long running soap opera). That seemed to be it for decades as far as “official”* audio productions (*more on that in a moment) until:

2010 when the Colonial Radio Theatre started producing full cast, feature-length adaptations of the original novels. Though faithful to the books, fans of the popular (and arguably character defining) 1950s-1960s TV series with Raymond Burr might be a little surprised at this version of Perry — he’s flintier and more hard-boiled, and even more willing to bend the law. But they’re actually being true to the original books. And in other respects — fans of the TV series will feel right at home (same sort of cases, same supporting cast of Della Street, Paul Drake, etc.) as should fans of Gardner’s books.

They only made five (so far) which is too bad –’cause they’re highly enjoyable! That’s thanks, obviously in part, to simply sticking to Gardner’s original stories, with twists and turns, and also to a rapid fire pacing that never allows it to get dull (without feeling rushed or like the story is getting muddled by cramming it into the running time). And the lawyer-angle — as opposed to the hero being a cop or detective — gives the mysteries an extra twist, the cases often nicely convoluted, not just beginning with a body-in-the-library sort of thing.

Admittedly, at times the performances can seem a bit like actors in a community theatre — a talented community theatre, but still not quite top drawer stuff. Though Jerry Robins — who also directed — was effective as Perry. But although I’m saying some of the performers were a bit uneven…it was still perfectly good and despite a hard boiled Perry, equally evocative of the TV series (with the audio Paul Drake even sounding like TV‘s Drake). They CDs are well worth tracking down. The plays: The Case of The Sulky Girl, The Case of The Howling Dog, The Case of The Luck Legs, The Case of The Velvet Claws and The Case of The Curious Bride.

There’s one final — unofficial — addition to Perry Mason-in-audio: a few audio tracks of the popular, seminal TV series starring Raymond Burr sometimes float about the internet, popping up on Old Time Radio sites, though not official “audio” productions. The ones I’ve come across are The Case of The Angry Mourner, The Case of The Silent Partner, The Case of The Drowning Duck and The Case of The Restless Redhead. Because these are just the TV soundtracks, some of the action will be a bit confusing (as dramatic music plays and you aren’t sure what the actors are doing) but the talky nature of the Mason scripts means they still work surprisingly well, benefiting, of course, from the good scripts and from hearing the signature and fondly recalled actors in the roles. The Silent Partner perhaps suffers the most from the lack of visuals (a few scenes where action is occurring) but even it you can follow, and the others are surprisingly effective as audio dramas.