In a first for AUDIOGO’s commissioning editor (Michael Stevens), DOCTOR WHO - THE STONES OF BLOOD defines the word “revelation”.
Re-visiting his 1978 script, David Fisher has rewritten the third part of SEASON 16’s “arc-plot”, THE KEY TO TIME, resulting in a fundamentally more intelligent, fully-rounded and, at times, a dry-mouthed-goose-pimplerling-back-of-the-neck-hair-standing-up gore-fest script.
Yes, it is a “revelation” and, if finances allow, may be the template for future CLASSIC SERIES releases from AUDIOGO. Imagine a re-working of TIME-LASH or a reimagineering of Douglas Adams’ THE PIRATE PLANET or Terry Nation’s DESTINY OF THE DALEKS that explains the origins of the Movellan-Dalek War at greater depth.
Admittedly, I was not exactly looking forward to Susan Engel’s reading for unknown reasoning that elude me. Though, I suppose, following previous excelling readings from the likes of David Troughton (in 2011, returning to reading of Victor Pemberton’s FURY FROM THE DEEP) or Geoffrey Beevers, I am now expecting a level of presentation quality that has, sadly, been devoid in a number of recent releases (DOCTOR WHO - THE RIBOS OPERATION is one prime example).
However, I needn’t have worried for Engel’s reading (there’s even a hint of MURDER, SHE WROTE’s Angela Lansbury in her cosseting tea-cosy all-consuming voice) is consistently effortless, drawing you into her aural bosom like a visiting Aunt reading a bedtime story when you were six years old on a winter’s evening. Simultaneously aloof, and reassuring, she delivers a wholly absorbing story with rich enthusiasm and measured ebullience that fans – both of the NEW and CLASSIC SERIES - will find refreshing.
As the voice of K9, John Leeson makes a second appearance as the fondly remembered companion, and though the “voice-treatment” seems to be less electronic than that of THE RIBOS OPERATION it does not detract from his/its contribution.
Fisher weaves a DOCTOR WHO plot-by-numbers with guile & subtly that contrasts warmly with his original televised script giving listeners story background of the Bodcombe Moor manor house and its inhabitants in addition to the Convent of the Sisters of St Gudula. This adds value where once the original television story has skipped over unceremoniously.
The writing is simply elegant and, at times, disturbingly horrific. The expedient murder of the unwitting (and indigestible) campers, Pat & Zack, is, literally, absorbing. As a Sontaran cloned warrior would say, “Glorious death”.
Reaching out to the stone monolith, Pat: They’re probably plastic.
His description of the Druidic follower, Martha Vicker is equally glorious; “…face of a discontented bulldog…”
Once again, the sound effects crafted by Simon Power are, suitably accurate and precise. Listen as Romana closes one of Vivien Fay’s recipe book or the Megara Justice entities arguing as they aurally skipping across from your left and right ears (technically known as “channels”, I believe) or the empty cardboard box sound of K9 trundling across open ground; wonderfully restrained. Unlike Murray Gold’s music contribution to the television series that frequently seems too overpowering, Simon Power’s score embraces Engel’s reading & Fisher’s script to form a balanced and coherent contribution. They say - whoever "they" are - that it takes genius to be effortless.
With the televised story marking the 100 th story, it is appropriate that AUDIOGO’s release of DOCTOR WHO - THE STONES OF BLOOD is appropriately new and celebratory, deserving of both your undivided attention and appreciation.
