430 BCE. Greece is in turmoil and then Benny strolls into town! Divine powers are at work in Ancient Greece…
1 Comment
Tom Swift
on May 9, 2016 at 3:39 AM
Oracle of Delphi
After the avant garde Summer of Love, The Oracle of Delphi is an extremely traditional story that’s almost more reminiscent of an old Doctor Who. We haven’t had a proper historical in the range since Just War put Bernice through one of the most traumatic days of her life, so this one has something to live up to. And for what its worth it succeeds, by doing nothing particularly risky but embracing a familiar well tried and trodden route with good dialogue and straightforward plotting.
Not that I’m complaining, time travellers lost and separated in an ancient city, someone interfering with history and looming danger are a staple that Doctor Who has thrived on for forty years. Here the city is Athens, the threat is plague, and the ‘celebrity’ historical figure is Socrates (with an amusing cameo from Plato). Of these tried and tested elements Socrates is the plays gem, and although I know nothing about ancient philosophers and can’t comment on how accurately portrayed he is, the man presented here is an engaging character ably voiced by Paul Shelley.
Stepen Fewell returns again, once again to be separated from Bernice in a separate strand all to familiar for this character. Becoming a male slave/servant in a fully matriarchic cult is a new low for the character though, culminating with him holding a knife to Bernice’s throat and swearing that he’s never loved her. Strangely there’s no fall out from this, both characters admit it’s nothing that hasn’t happened before and they move on.
The historical element and the Plague threat remind me actually of Plague Herds of Excelis, and I’m glad to say this is definitely the superior play of the two. The almost theatrical way the cities democracy governs itself is more engaging than a lone queen’s angst about ruling. Sorcrates is one of the better short term companions the range has presented. And the subplot about the differences and the equality of men and woman is admirable, if a little heavy handed in its treatment of Jason.
All in all I can recommend this play as a thoroughly solid production. It stands on its own as a good story, has some intelligent links to the greater series, and the production as a whole is nearly faultless. In fact I can’t think of any particularly weak elements to pick on aside from perhaps a lack of ambition.
Oracle of Delphi
After the avant garde Summer of Love, The Oracle of Delphi is an extremely traditional story that’s almost more reminiscent of an old Doctor Who. We haven’t had a proper historical in the range since Just War put Bernice through one of the most traumatic days of her life, so this one has something to live up to. And for what its worth it succeeds, by doing nothing particularly risky but embracing a familiar well tried and trodden route with good dialogue and straightforward plotting.
Not that I’m complaining, time travellers lost and separated in an ancient city, someone interfering with history and looming danger are a staple that Doctor Who has thrived on for forty years. Here the city is Athens, the threat is plague, and the ‘celebrity’ historical figure is Socrates (with an amusing cameo from Plato). Of these tried and tested elements Socrates is the plays gem, and although I know nothing about ancient philosophers and can’t comment on how accurately portrayed he is, the man presented here is an engaging character ably voiced by Paul Shelley.
Stepen Fewell returns again, once again to be separated from Bernice in a separate strand all to familiar for this character. Becoming a male slave/servant in a fully matriarchic cult is a new low for the character though, culminating with him holding a knife to Bernice’s throat and swearing that he’s never loved her. Strangely there’s no fall out from this, both characters admit it’s nothing that hasn’t happened before and they move on.
The historical element and the Plague threat remind me actually of Plague Herds of Excelis, and I’m glad to say this is definitely the superior play of the two. The almost theatrical way the cities democracy governs itself is more engaging than a lone queen’s angst about ruling. Sorcrates is one of the better short term companions the range has presented. And the subplot about the differences and the equality of men and woman is admirable, if a little heavy handed in its treatment of Jason.
All in all I can recommend this play as a thoroughly solid production. It stands on its own as a good story, has some intelligent links to the greater series, and the production as a whole is nearly faultless. In fact I can’t think of any particularly weak elements to pick on aside from perhaps a lack of ambition.
8 / 10