Tony goes green.
The idea of bringing back
classic Doctor Who monsters and dealing with them in new,
Torchwood-appropriate, more adult scenarios is a fundamentally great thing in
principle.
Whether what you get as a
result of doing it is a fundamentally great story
depends on how you handle and balance the elements.
The Green Life brings Jo
Jones, who has now appeared on TV with a New Who Doctor and alongside the Kate
Stewart iteration of UNIT in audio, on a mission with Torchwood’s Captain Jack
Harkness, back to the one-time mining town of Llanfairfach, where the computer
known as BOSS and the giant green maggots grown at the bottom of its mining
operation were once intent on taking over the wooooorld!
It’s been a while between
visits. Llanfairfach isn’t the same place it once was – there’s an evolution of
the Nut Hutch in the town, and a focus on providing ecologically sound,
ethically sourced protein-based ready meals and ingredients to the world at
large.
So why are Jack and Jo
coming to town?
An unexplained death, a
degree of disbelief…and a memory of the maggoty shenanigans of an earlier time.
Here’s the thing. Every
Who-fan, every Torchwood-fan, every nostalgia-fan is going to want to love this
story – it’s the coming together of Jo and Jack, it’s the follow-up to The
Green Death, it’s got giant maggots in it, and, not for nothing, it’s written
by David Llewellyn, which is usually a cast iron guarantee of a good time.
But…
It gives me little
pleasure to say this, but this Torchwood story feels rather like it misses its
mark. On the one hand, the giant maggots of The Green Death are an intensely
visual scare – everyone who ever saw them remembered The Green Death as ‘the one
with the giant maggots’ because they’re enough to make you squirm, just by
looking at them. On audio… meh. They sound fairly nondescript, because of
course, what’s a maggot going to do to make them an exciting audio proposition?
Now, Big Finish has strong form in overcoming the silent or simply roaring
monsters – it’s delivered Weeping Angel stories and Drashig stories that both
told effective stories and also scared the pants off listeners. But with the
maggots, other than their trademark, still rather small-scale hissing, there’s
little to be done to make them audibly awe-inspiring. That means you’re left
with little option but to narrate-along-a-maggotfest, with Jo and Jack having
to describe what they see, hear, smell and so on to deliver the oomph that a
visual giant maggot carries with it in just a second or twosworth of screen
time.
Apart from which, what we
have here is a story that’s linear to the point of oversimplicity – it’s Jo and
Jack, travelling to find the source of the maggots, squelching their way
through a squishy soundscape of damp and mulch and occasional hissing, and then
reaching that source, having one fairly important, exposition-heavy
conversation with a third party (the revelation of which will absolutely
double, if not triple down on the nostalgia factor of this release), Jack doing
a thing for which he’s already fairly well-known, and then them going away
again. Conversations along the way are great, and we get to catch up on some
post-Green Death developments for Jo and Cliff – which again, is at least
partly what anybody buying this release is looking for from the purchase - but conversations en route to a conversation,
followed by more conversations heading in the opposite direction leaves the
listener echoing Elvis – a little less conversation, a little more action,
please.
Ultimately, as we said at
the beginning, any Jo fan is going to really want to love this story, and for
the sake of everything we learn about her and Cliff, her and Jack (not for
nothing, there’s a sprinkling of distinctly Katy Manning fabulousness in her
conversations with Jack), for the fact that this is a legitimate follow-up to The Green Death and for a surprise or
two towards the end, there’ll be enough here to satisfy the cravings they have.
But in the fact that it doesn’t move far beyond the remit of Jo and Jack, giant
maggots and Llanfairfach, it feels constricted by the short run-time into being
only a hat-tipping sequel to the sprawling creepy madness of the original Green
Death, rather than something which, given the time and space to evolve into,
could have updated the ideas of the original on a broader canvas than either
the budget could allow back in the Seventies or than the demands of nostalgia
and fan-service within a one-hour release allow on audio today.
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