Fact: I will adopt this method of speaking for all of my posts
Good fact: This will annoy all of you. from now on.
Bad fact: It will be hard to keep up
Conclusion: Ha Ha Ha Ha Ha Ha.

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31st December 2008: Return of the Krotons "You will be dispersed!"

'Please note that the views expressed by Barnaby are his own opinions and do not reflect official Big Finish policy. They may also be daft.'
Conclusion: I shall ignore everything you say now. It's probably all rubbish.

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31st December 2008: Return of the Krotons "You will be dispersed!"

Fact: Here I am replying to your so-called fact, ipso facto the fact you have just expressed is an incorrect fact.
Conclusion: Get your facts right.
:-)

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Please note that the views expressed by Barnaby are his own opinions and do not reflect official Big Finish policy. They may also be daft.

Or indeed misspelled.

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All the best,

David

When I first listened to this production, I had no idea who the Grell were. I had completely forgotten about their appearance in the first Bernice Summerfield audio “Oh No It Isn’t!” Luckily this wasn’t a disadvantage as to quite a large extent they are incidental to the enjoyment of the play. This has to be the India Fisher show, where she gets to play three different personalities. And boy does she go for it at times!

Even though this is only the second of the releases with the 6th Doctor and Charlie, it already feels like they’ve settled into a comfortable routine. This is helped in no small measure by the years of experience both have had in their respective roles. It is also aided by the rapport which clearly exists between Colin Baker and India Fisher. It does mean that this particular pairing could probably be given the worst script in the world and make something entertaining from it. This isn’t the worst in the world, but their performances still lift it above where it might otherwise have been.

The Grell are frankly a piece of comic nonsense as a race. This isn’t necessarily a bad thing, as humour has always been a fundamental part of Doctor Who. Once it’s established that silly season is under way, the rest is as jolly a romp as any pantomime could wish to be, but with the Doctor and Charlie thrown into the middle of it. In some respects this story actually resembles “Oh No It Isn’t!” The heroes start out in a real world situation (real to the Doctor Who universe that is). Then, after the intervention of an alien force, they find themselves elsewhere, but as yet unaware that things are not as they should be. Gradually, during the first episode, it dawns on the Doctor that what they are experiencing is an incarnation of a fictional world. In this case, a literary fiction rather than the stage fiction of the Bernice Summerfield story.

What makes the plot more interesting is the addition of the character and legend of **** Turpin. At this point we all break off to marvel at the mind that thought the indiscriminate swear filter was a good idea... Anyway, Turpin, as he shall henceforth be called, is another one of those historical people whose real story is quite different from the popular myth. In “The Doomwood Curse” the conflict between the truth and the invented figure of Turpin forms a central representation of the whole corruption of reality. It highlights the triumph of romanticism over facts, as demonstrated by the way Charlie insists on preferring the fictional interpretation of Turpin over the truth as explained by the Doctor. We are also treated to some gentle ribbing of the various literary and dramatic techniques used to move a plot along, such as the way people rarely have to go to the bathroom or endure endless journeys where nothing of interest happens. Charlie herself, as the Doctor explains, becomes a plot device to further the story, morphing into each new character as necessary to achieve the required events.

The performances are delightful throughout “The Doomwood Curse”. As I’ve already mentioned, special plaudits go to India Fisher for her display of accents and melodramatic acting. All of India’s efforts have that underlying raciness which characterises her style. From the gung ho Charlie, willing to embrace adventure and danger, through the bodice-ripper version of Charlotte swooning in the arms of a virtual stranger, to the thigh-slapping, gun-toting Gypsy Charlotte who rides alongside the infamous but dashing Turpin. Speaking of “bodice-ripping”, I couldn’t help but notice the way that the instruction “loosen her clothing” turned into tearing garments somewhere in the fevered imagination of the production... Perhaps in that age fastenings were a novelty?

Colin Baker is, as ever, wonderful. The 6th Doctor continues to be gently suspicious of his new companion, without overtly challenging her. Each little slip is quietly remarked upon without an obvious “Aha!” One can imagine that by now Charlie is feeling pretty paranoid at the best of times. Entering into an 18th century grand house seems second nature to the Doctor, smoothly slipping into the etiquette and mannerisms of the period until he starts to realise that something is wrong. Then he rallies those around him, with the help of a few nosegays, and is off to rescue Charlie from a fate worse than death: being written out of a novel. As John, the bride groom, suffers the pain of grief the 6th Doctor once again reveals his compassionate side. But as Colin Baker explains in the extras, even with the new lease of life given to the 6th Doctor, he is always up front and himself. What you see is what you get.

One can’t listen to a play including Nicky Henson without remarking on his incredibly rich voice. Back in “Loups-Garoux” his delivery as peter Stubbe was superb. Here, as Turpin, he is as deep and mellow as ever, but with the “yokel” accent of the rural classes of the time. He’s not a bad singer either. He manages to draw a distinction between the fictional Robin Hood style gallant rogue and the real villain while playing the same person. It would be quite a good story to hear him play Turpin for real.

Other members of the cast also deserve mention as the period piece requires honest, if heightened, performances. Hayley Atwell returns to Big Finish and shows how a classical novel bride can be both traditional and believable. Geraldine Newman, previously heard in “The Wishing Beast” steers her character of Lady Sybil between a conscientious hostess and an impassioned murderess with aplomb. Jonathan Firth walks that delicate tightrope between the eager bridegroom and the romantic hero, revealing that what often gets lost in the dramatic tales are the true human emotions.

Because this story is largely a period piece, there are lots of opportunities for splendid sound design. In each scene it is fun to try and see what extra little touches can be picked out in the background. The music uses the best traditions of grand drama and adventure, with orchestral themes and driving beats as the chase to York progresses. The reappearance of a Grell in all this is all the more incongruous for the high quality of sound work that has gone before and is mercifully brief.

For my taste, I would prefer a story that directly dealt with the truth about Turpin. I’ve already stated my liking for “pure historical” stories in Doctor Who. But as it stands “The Doomwood Curse” is still entertaining and, to an extent, informative. It has been commented that it is a shame that the first two stories featuring the 6th Doctor and Charlie have seen them separated for the majority of the play. The next instalment redresses this, confirming everyone’s impression as shown here that this is a partnership worth watching.

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All the best,

David

I reckon that the Grel organised those annoying Dettol adverts.

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31st December 2008: Return of the Krotons "You will be dispersed!"

Hopefully Charley will just go on and on.
I know they won't do it, but it would be nice to include her in an episode of the new series.

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31st December 2008: Return of the Krotons "You will be dispersed!"

I agree about the Grell. I had never heard them or hear of them before, and if they had been thoughout the story it would have been a far different tone to it. As it is, having them as the instigators then allowing the story to follow it's own direction is a great idea.

India Fisher...bodice-ripping - that's the kind of thing we need to hear more of in Big Finish!

I'm of the opposite opinion regarding the appeal of historical accuracy for this one. I do love historicals but thought the one was very well handled. I recently visited the Jack the Ripper exhibition in London and at the end there was a video playing with people debating the rights and wrongs of having an exhibition like that. "It's glamourising a common murderer" / "it provides insight into a horrible but important point in history and remembers the victims." This story deals with that whole debate by presenting both sides of the argument. It doesn't belittle his victims by showing his dashing persona, it merges fact with fiction. Great stuff!

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I've fallen slightly behind in listening to my CDs - please excuse my ignorance if I say anything stupid...
All comments are my own personal opinions, I don't mean any offence to any writers, directors etc.

I'll believe you Barnaby. I mean, the mark had to be hidden from plain sight so as to have an unexpected reveal. But having said mark on say the sole of her foot would lack a certain finesse.

"She's fainted!"

"Quick, take off her shoe..."

Nope. Doesn't quite have the same impact does it?

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All the best,

David

Hear, Hear!

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"omnia audite, omnia videte, nil dicite; omnia edite, omnia bibite, nil prodigite; nunquam aliquid, nisi pro vobis, inhonorati facite"