Starring Tom Baker, Lalla Ward, Miranda Raison, Graham Seed, Michael Troughton & John Leeson as K9.
Written by Gareth Roberts
Adapted by John Dorney
Directed by Nicholas Briggs
The Rock of Judgement. Court, prison and place of execution for the Uva Beta Uva system, hewn into the skin of a rocket powered asteroid. Not a good place to be. Particularly not for two Time Lords and their dog.
Upon arrival on the Rock, the Doctor, Romana and K9 find themselves embroiled in the plans of a maverick law-man, but that is just the beginning of their troubles. A highly-strung artist's gallery holds a deadly secret... and soon everyone's lives will be in danger.
They struggle to know who's good and who's bad, a terrible scheme is being unleashed. With enemies old and new attacking from both sides, can they possibly escape alive?
After two seventh Doctor New Adventure adaptions, Big Finish turned towards the Missing Adventures, and, more specifically, the Gareth Roberts stories that make up a loosely linked trilogy of season 17. It's no wonder that these three stories have been adapted, since they are possibly three of the most notable Doctor Who novels that there's ever been. The first of these, The Romance Of Crime, is probably the ultimate latter-day recreation of season 17, with everything from corny jokes to hammy acting to ridiculous plot twists. It even feels like Tom Baker has thrown in a few ad-libs (although since Tom Baker is actually in this, it wouldn't surprise me if some were genuine ad-libs), meaning that, possibly more so than any other story, it feels like it could be a soundtrack from that era of the programme. Every little detail in the story feels like it could have been broadcast in 1979. In fact, the only thing it's missing is the BBC continuity announcements at the beginning of each episode.
The main plot revolves around a bizarre murder mystery in space regarding a mutant terrorist who has somehow managed to cheat death, and started killing again. It's as outlandish as Nightmare Of Eden or The Creature From The Pit, but that's perfectly in keeping with the tone of the season that this hails from. However, while this story is ludicrous and outlandish, it flows together really well, especially with regards to the seemingly disparate elements that make up it's main plot strand. The way that everything flows together to form one cohesive plot is quite a surprise, since they all seem rather disconnected from each other initially. However, it's testament to the novel's author Gareth Roberts that all of these elements come together really, really well, and it's testament to the adaptive work of John Dorney that this translates well across to the audio medium. The story does really seem to tie together excellently, with seemingly unimportant details (such as the execution of the rogue miner in the first episode) turning out to be hugely important later on. It's an excellent way to interweave a plot together, and a demonstration of how to connect a story while avoiding superfluous material. The first two episodes really are testament to this approach, because, as the mystery ramps up, the listener has so many things chucked at them for so many different angles, it can be quite hard to work out which elements are the red-herrings and which are the important aspects of the plot. I love the way that we got to see all of these elements brought together in the last two parts as well, and given a satisfactory end. I would say that the story does suddenly seem to stop, rather than coming to an organic conclusion. I can't see it being a major lack of material that was left on the adapting room floor, but it's possible that some bridging stuff is missing. Everything is tied up though, and satisfactorily too, I just feel like the story suddenly stops for no real reason. That's probably the story's only major flaw, because, overall, it's a fantastic little story. The main reason why it's such a success is probably the one that I've highlighted above: it reeks of that season 17 style. Now, season 17 isn't one of my favourite seasons of classic Who. In fact, it's probably my least favourite Tom Baker season of all, and I think that it's style has a huge part to play in my dislike. To me, the stories are just far too comic, clichéd and look very half-arsed, which, when coupled with a diminished budget, means that the whole thing comes across as very lazy. And Romance taps right into this, with the whole thing feeling very much of the period. However, the tone of this story has been very deliberately picked, so that the end product comes across with that air, but not feeling like it has been forced upon it to it's detriment. The whole purpose of the story is to recreate those feelings and emotions you get when watching a story from season 17. The real amazement from this story comes in the fact that it's both great and rubbish at the same time. Now that's something that takes real skill.
This sentiment also extends to the characters as well. They're all very much clichés, like they would have been had the story been written during that period. But, since that's all part of establishing a consistent tone, it's all key to the experience. Xais, the story's main villain, is a key example of this approach. She's completely ridiculous: she's got a clichéd backstory, surface level motivations and a tendency towards the melodramatic. However, Gareth Roberts uses this as not just set dressing, and for remaining authentic to the era, but as a way to highlight the pointlessness of complete devotion to a cause or ideology. Xais needs another living creature to survive, and, in the end, when no one will take her mask, her power is broken. Of course, there are a few subtleties to Xais' character, but she does lack a certain dimensional depth, which is perhaps a little bit of a drawback. Pyerpoint is, in many ways, a reaction to characters like Tryst in Nightmare Of Eden: a character so clearly evil, it's a wonder why no one got it sooner. It is played with a lot more subtlety than that one, however, but it's quite clear from about episode 3 onwards that he is a villain. Again, his character is the stock sort you'd find in any classic Who story, but that's all part of the charm. The rest of the villains are actually probably treated with a little more interest from both Roberts and John Dorney. The Nisbett brothers are, once more, as clichéd as anything, but they are more interesting than the lead villains, if only because of the style and flair that they are given in this adaption. They're downbeat, world-weary approach is a great one, because they make an excellent contrast with the rather more outlandish parts of this world. Another character who makes an excellent contrast with this world is Spiggot, who is so flat he is utterly hilarious. His deadpan reactions to certain situations is hilarious, and I loved the way that he plays to every stereotype in the book regarding a gruff detective character. The constant talk about 'Angie and the kids' was so funny it was untrue. But, out of all of these characters, the most interesting (and the funniest) was, without doubt, Menlove Stokes. He was just outrageous, ludicrous and laugh-out-loud hilarious, sometimes all the same line. Sure, he's a funny character, but none of this would have been possible without an amazing performance from Michael Troughton. In fact, the cast all do an amazing job here, with Miranda Raison and the aforementioned Troughton being the clear standouts from the guest cast. Miranda brings a kind of cold deadliness to the part of Xais, and a total lack of calm to the smaller role of Margo, while Troughton is utterly over the top as Stokes, but in completely the right way. Graham Seed is also really good as Pyerpoint, as is Marcus Garvey as Spiggot. Joshua Silver does sound a little uncomfortable in his role as Charlie Nisbett, but, when coupled with John Dorney as brother Eddie, they do make a good pairing. Dorney also voices the Ogrons in their first Big Finish appearance, and they are very well-treated here. Sure, they basically bumble around, and act like clowns, but, let's face it, it was always really hard to take the Ogrons seriously. Here, at least, the script realises how outlandish they actually are, and plays to that for great effect. The rest of the guest cast (Phil Mulryne, James Joyce and Jane Slavin) are equally brilliant, but, right at the top of this story, are our three regulars, Tom Baker, John Leeson and Lalla Ward. Considering that this is the first time all three have recorded together since 1981, they slip back into their dynamic with consummate ease. The three of them sound like they've only just stepped off the set of the TV series to record this: the Doctor is flippant and fun, Romana is clever and sophisticated and K9 is the ultimate sassy supercomputer. Putting them all back together is dynamite, with Tom Baker giving one of his strongest ever performances at Big Finish. Lalla Ward and John Leeson are amazing too, although both have slightly less to do in this one than in the other two fourth Doctor Novel Adaptations. However, that's only a minor quibble, and it doesn't at all detract from the story at play.
The general production of this release is up to Big Finish's lofty standards. The direction by Nicholas Briggs is exemplary, getting very strong performances from his cast. Coupled with the sound design and music from Big Finish mainstay Howard Carter, which is a perfect evocation of the era that this hails from, it makes for a very slick production. The sound design work particularly comes into it's own with the way that Xais murders her victims, which is gruesome enough without the effect that's added to it in post-production. I'd also like to single out adaptor of the story John Dorney, because, apart from the tad rushed ending, the story doesn't feel like any significant material has been cut. Everything flows together very, very seamlessly, and the story knits together excellently. The cover art from Tom Webster, on both the standard CD edition, and the limited edition book format is just amazing. I only wish Webster could do every cover design for Big Finish, because, right from day one, his covers have been something really, really special. I only wish Big Finish could sell posters of all they're artist's work, because only Stuart Manning comes close regarding Who art at the moment (and before anyone mentions Lee Binding or Will Brooks, both have worked with BF).
Overall, The Romance Of Crime is an very good release. The plot is good, the characters are interesting, the acting is first class and the post-production is exemplary. But what really works for me is the fact that this feels like it belongs in season 17. Gareth Roberts' clever and skilful novel has been translated into audio fantastically by John Dorney, and this is a story that's hard to fault because of just how fun it is.
Rating - 8/10
Written by Gareth Roberts
Adapted by John Dorney
Directed by Nicholas Briggs
The Rock of Judgement. Court, prison and place of execution for the Uva Beta Uva system, hewn into the skin of a rocket powered asteroid. Not a good place to be. Particularly not for two Time Lords and their dog.
Upon arrival on the Rock, the Doctor, Romana and K9 find themselves embroiled in the plans of a maverick law-man, but that is just the beginning of their troubles. A highly-strung artist's gallery holds a deadly secret... and soon everyone's lives will be in danger.
They struggle to know who's good and who's bad, a terrible scheme is being unleashed. With enemies old and new attacking from both sides, can they possibly escape alive?
After two seventh Doctor New Adventure adaptions, Big Finish turned towards the Missing Adventures, and, more specifically, the Gareth Roberts stories that make up a loosely linked trilogy of season 17. It's no wonder that these three stories have been adapted, since they are possibly three of the most notable Doctor Who novels that there's ever been. The first of these, The Romance Of Crime, is probably the ultimate latter-day recreation of season 17, with everything from corny jokes to hammy acting to ridiculous plot twists. It even feels like Tom Baker has thrown in a few ad-libs (although since Tom Baker is actually in this, it wouldn't surprise me if some were genuine ad-libs), meaning that, possibly more so than any other story, it feels like it could be a soundtrack from that era of the programme. Every little detail in the story feels like it could have been broadcast in 1979. In fact, the only thing it's missing is the BBC continuity announcements at the beginning of each episode.
The main plot revolves around a bizarre murder mystery in space regarding a mutant terrorist who has somehow managed to cheat death, and started killing again. It's as outlandish as Nightmare Of Eden or The Creature From The Pit, but that's perfectly in keeping with the tone of the season that this hails from. However, while this story is ludicrous and outlandish, it flows together really well, especially with regards to the seemingly disparate elements that make up it's main plot strand. The way that everything flows together to form one cohesive plot is quite a surprise, since they all seem rather disconnected from each other initially. However, it's testament to the novel's author Gareth Roberts that all of these elements come together really, really well, and it's testament to the adaptive work of John Dorney that this translates well across to the audio medium. The story does really seem to tie together excellently, with seemingly unimportant details (such as the execution of the rogue miner in the first episode) turning out to be hugely important later on. It's an excellent way to interweave a plot together, and a demonstration of how to connect a story while avoiding superfluous material. The first two episodes really are testament to this approach, because, as the mystery ramps up, the listener has so many things chucked at them for so many different angles, it can be quite hard to work out which elements are the red-herrings and which are the important aspects of the plot. I love the way that we got to see all of these elements brought together in the last two parts as well, and given a satisfactory end. I would say that the story does suddenly seem to stop, rather than coming to an organic conclusion. I can't see it being a major lack of material that was left on the adapting room floor, but it's possible that some bridging stuff is missing. Everything is tied up though, and satisfactorily too, I just feel like the story suddenly stops for no real reason. That's probably the story's only major flaw, because, overall, it's a fantastic little story. The main reason why it's such a success is probably the one that I've highlighted above: it reeks of that season 17 style. Now, season 17 isn't one of my favourite seasons of classic Who. In fact, it's probably my least favourite Tom Baker season of all, and I think that it's style has a huge part to play in my dislike. To me, the stories are just far too comic, clichéd and look very half-arsed, which, when coupled with a diminished budget, means that the whole thing comes across as very lazy. And Romance taps right into this, with the whole thing feeling very much of the period. However, the tone of this story has been very deliberately picked, so that the end product comes across with that air, but not feeling like it has been forced upon it to it's detriment. The whole purpose of the story is to recreate those feelings and emotions you get when watching a story from season 17. The real amazement from this story comes in the fact that it's both great and rubbish at the same time. Now that's something that takes real skill.
This sentiment also extends to the characters as well. They're all very much clichés, like they would have been had the story been written during that period. But, since that's all part of establishing a consistent tone, it's all key to the experience. Xais, the story's main villain, is a key example of this approach. She's completely ridiculous: she's got a clichéd backstory, surface level motivations and a tendency towards the melodramatic. However, Gareth Roberts uses this as not just set dressing, and for remaining authentic to the era, but as a way to highlight the pointlessness of complete devotion to a cause or ideology. Xais needs another living creature to survive, and, in the end, when no one will take her mask, her power is broken. Of course, there are a few subtleties to Xais' character, but she does lack a certain dimensional depth, which is perhaps a little bit of a drawback. Pyerpoint is, in many ways, a reaction to characters like Tryst in Nightmare Of Eden: a character so clearly evil, it's a wonder why no one got it sooner. It is played with a lot more subtlety than that one, however, but it's quite clear from about episode 3 onwards that he is a villain. Again, his character is the stock sort you'd find in any classic Who story, but that's all part of the charm. The rest of the villains are actually probably treated with a little more interest from both Roberts and John Dorney. The Nisbett brothers are, once more, as clichéd as anything, but they are more interesting than the lead villains, if only because of the style and flair that they are given in this adaption. They're downbeat, world-weary approach is a great one, because they make an excellent contrast with the rather more outlandish parts of this world. Another character who makes an excellent contrast with this world is Spiggot, who is so flat he is utterly hilarious. His deadpan reactions to certain situations is hilarious, and I loved the way that he plays to every stereotype in the book regarding a gruff detective character. The constant talk about 'Angie and the kids' was so funny it was untrue. But, out of all of these characters, the most interesting (and the funniest) was, without doubt, Menlove Stokes. He was just outrageous, ludicrous and laugh-out-loud hilarious, sometimes all the same line. Sure, he's a funny character, but none of this would have been possible without an amazing performance from Michael Troughton. In fact, the cast all do an amazing job here, with Miranda Raison and the aforementioned Troughton being the clear standouts from the guest cast. Miranda brings a kind of cold deadliness to the part of Xais, and a total lack of calm to the smaller role of Margo, while Troughton is utterly over the top as Stokes, but in completely the right way. Graham Seed is also really good as Pyerpoint, as is Marcus Garvey as Spiggot. Joshua Silver does sound a little uncomfortable in his role as Charlie Nisbett, but, when coupled with John Dorney as brother Eddie, they do make a good pairing. Dorney also voices the Ogrons in their first Big Finish appearance, and they are very well-treated here. Sure, they basically bumble around, and act like clowns, but, let's face it, it was always really hard to take the Ogrons seriously. Here, at least, the script realises how outlandish they actually are, and plays to that for great effect. The rest of the guest cast (Phil Mulryne, James Joyce and Jane Slavin) are equally brilliant, but, right at the top of this story, are our three regulars, Tom Baker, John Leeson and Lalla Ward. Considering that this is the first time all three have recorded together since 1981, they slip back into their dynamic with consummate ease. The three of them sound like they've only just stepped off the set of the TV series to record this: the Doctor is flippant and fun, Romana is clever and sophisticated and K9 is the ultimate sassy supercomputer. Putting them all back together is dynamite, with Tom Baker giving one of his strongest ever performances at Big Finish. Lalla Ward and John Leeson are amazing too, although both have slightly less to do in this one than in the other two fourth Doctor Novel Adaptations. However, that's only a minor quibble, and it doesn't at all detract from the story at play.
The general production of this release is up to Big Finish's lofty standards. The direction by Nicholas Briggs is exemplary, getting very strong performances from his cast. Coupled with the sound design and music from Big Finish mainstay Howard Carter, which is a perfect evocation of the era that this hails from, it makes for a very slick production. The sound design work particularly comes into it's own with the way that Xais murders her victims, which is gruesome enough without the effect that's added to it in post-production. I'd also like to single out adaptor of the story John Dorney, because, apart from the tad rushed ending, the story doesn't feel like any significant material has been cut. Everything flows together very, very seamlessly, and the story knits together excellently. The cover art from Tom Webster, on both the standard CD edition, and the limited edition book format is just amazing. I only wish Webster could do every cover design for Big Finish, because, right from day one, his covers have been something really, really special. I only wish Big Finish could sell posters of all they're artist's work, because only Stuart Manning comes close regarding Who art at the moment (and before anyone mentions Lee Binding or Will Brooks, both have worked with BF).
Overall, The Romance Of Crime is an very good release. The plot is good, the characters are interesting, the acting is first class and the post-production is exemplary. But what really works for me is the fact that this feels like it belongs in season 17. Gareth Roberts' clever and skilful novel has been translated into audio fantastically by John Dorney, and this is a story that's hard to fault because of just how fun it is.
Rating - 8/10
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