The TARDIS breaks down in forbidden space. Ghostly voices cry out for salvation and only C’rizz can answer them.
1 Comment
Styre
on May 8, 2016 at 1:03 AM
ABSOLUTION
In its own way, “Absolution” is a landmark Big Finish release for a simple reason: it’s the first time they’ve written out a companion. Yes, Evelyn’s farewell is outlined in “Thicker than Water,” but that didn’t stop further releases featuring the intrepid historian. This, however, is the end of the road for Conrad Westmaas and his fine portrayal of C’rizz. I’ll admit I was skeptical about Scott Alan Woodard penning the script, as I had been underwhelmed by his earlier “The Juggernauts,” but for once my fears were unnecessary: “Absolution” is a solid story with an epic scale, and a suitable farewell for C’rizz in more ways than one.
One of my persistent complaints with Big Finish is that they don’t really know how to handle arcs, plot or character: rather than revealing more and more information over a slow sequence of releases, they just drop hint after infuriating hint but never actually reveal or explain anything until a huge info-dump comes along in the concluding play. “Neverland” and “The Next Life” are the two biggest offenders in this regard. Fortunately, there isn’t much info-dumping to be found in “Absolution,” but I suspect that’s mostly because there wasn’t much to say about C’rizz. We’ve learned that he copies not only physical appearances but also personalities, chameleon-like — of course, we’ve rarely if ever seen this, but it has been mentioned. Does this really happen between C’rizz and Aboresh (Robert Glenister)? Not really, but at least it draws a reference. We also know that C’rizz has been carrying around a lot of guilt, both about the death of his love L’da and the mysterious deaths and voices that live inside his head. Finally, as the play draws to its conclusion, we learn that he was constructed by his own people to serve as a repository for these souls. This isn’t a bad idea, but we’ve seen this character in fourteen different stories over four years of releases, and there hasn’t been the slightest hint of this revelation. It sounds like it was made up out of whole cloth because the character had to go — and while I could be cruel and say it’s entirely in keeping with how the character was developed in his prior appearances, I’ll say instead that it’s the sort of head-scratching sendoff that was just as baffling when it happened in the old series.
And that’s all a shame, because “Absolution” is otherwise a fine production. Woodard’s script has an epic feel not seen in Big Finish for a long time, with what appear to be the summoned forces of hell itself descending upon a near-defenseless habitation. We’ve got the classic Doctor Who themes of power corrupting, science gone bad, and relationships crumbling, and we’ve got some fabulous performances both from the central cast and from the supporting members. The play also carries an oppressive atmosphere that lends added importance to the drama. I criticized Woodard’s “The Juggernauts” for shallow characterization and shaky plotting — this script is much improved on both counts, and while it may not achieve the heights of a Shearman or Cornell, it’s eye-opening how well the author is able to tie traditional Doctor Who tropes to an epic scale like this one.
As I mentioned above, “Absolution” features even greater performances than Big Finish’s usual high standard. Paul McGann is on stellar form in both the opening “dead TARDIS” scenes as well as the later, “Doctorish” investigation scenes. This is also India Fisher’s best performance as Charley in several years — much of this is down to the writing, of course, but for once she comes across as a real person rather than an Edwardian cipher, and her relationships with her traveling companions ring true. The final scene jars, however. Last among the regular cast, of course, is Conrad Westmaas, and his farewell performance is a tour de force of emotions, culminating in the wonderfully quiet final goodbye. I’ve often criticized the character of C’rizz for being woefully underdeveloped and underused by Big Finish, but Westmaas’s performances have always been first-rate. Yes, it’s “only” audio, and no, he’ll never be namechecked with the television companions by the casual audience — but he deserves to be, and he’ll be missed. The supporting cast, too, is on top form: Glenister is wonderfully sinister, Christopher Villiers gives a nuanced performance of his own as Cacothis, and Tony Barton and Geoff Breton provide a nice function as the narrative double-act of Straith and Phelgreth. Natalie Mendoza rounds out the successful cast as Lolanthia.
Simon Robinson’s sound design is astonishing: from the opening scenes inside the TARDIS to the vast, epic scale of the conclusion, Woodard’s script must have been incredibly challenging to realize, but you’d never know it from the utterly convincing soundscape. The music adds to the atmosphere, and for once it’s used for purposes other than bridging scenes. Barnaby Edwards’ direction is solid as ever — it’s apparent why he’s become the regular director — and even the front cover is eye-catching. CD extras include interviews with the entire cast and some of the production staff.
While “Absolution” is a fine production, it is perhaps a bit too straightforward to achieve true greatness. It also, unfortunately, underscores just how poorly C’rizz was developed throughout his run in the series. But aside from these flaws, it’s a fine production: it features lots of ambition and atmosphere, two things that have been missing from the Big Finish run of late. And with an even bigger landmark looming on the horizon, this bodes well.
ABSOLUTION
In its own way, “Absolution” is a landmark Big Finish release for a simple reason: it’s the first time they’ve written out a companion. Yes, Evelyn’s farewell is outlined in “Thicker than Water,” but that didn’t stop further releases featuring the intrepid historian. This, however, is the end of the road for Conrad Westmaas and his fine portrayal of C’rizz. I’ll admit I was skeptical about Scott Alan Woodard penning the script, as I had been underwhelmed by his earlier “The Juggernauts,” but for once my fears were unnecessary: “Absolution” is a solid story with an epic scale, and a suitable farewell for C’rizz in more ways than one.
One of my persistent complaints with Big Finish is that they don’t really know how to handle arcs, plot or character: rather than revealing more and more information over a slow sequence of releases, they just drop hint after infuriating hint but never actually reveal or explain anything until a huge info-dump comes along in the concluding play. “Neverland” and “The Next Life” are the two biggest offenders in this regard. Fortunately, there isn’t much info-dumping to be found in “Absolution,” but I suspect that’s mostly because there wasn’t much to say about C’rizz. We’ve learned that he copies not only physical appearances but also personalities, chameleon-like — of course, we’ve rarely if ever seen this, but it has been mentioned. Does this really happen between C’rizz and Aboresh (Robert Glenister)? Not really, but at least it draws a reference. We also know that C’rizz has been carrying around a lot of guilt, both about the death of his love L’da and the mysterious deaths and voices that live inside his head. Finally, as the play draws to its conclusion, we learn that he was constructed by his own people to serve as a repository for these souls. This isn’t a bad idea, but we’ve seen this character in fourteen different stories over four years of releases, and there hasn’t been the slightest hint of this revelation. It sounds like it was made up out of whole cloth because the character had to go — and while I could be cruel and say it’s entirely in keeping with how the character was developed in his prior appearances, I’ll say instead that it’s the sort of head-scratching sendoff that was just as baffling when it happened in the old series.
And that’s all a shame, because “Absolution” is otherwise a fine production. Woodard’s script has an epic feel not seen in Big Finish for a long time, with what appear to be the summoned forces of hell itself descending upon a near-defenseless habitation. We’ve got the classic Doctor Who themes of power corrupting, science gone bad, and relationships crumbling, and we’ve got some fabulous performances both from the central cast and from the supporting members. The play also carries an oppressive atmosphere that lends added importance to the drama. I criticized Woodard’s “The Juggernauts” for shallow characterization and shaky plotting — this script is much improved on both counts, and while it may not achieve the heights of a Shearman or Cornell, it’s eye-opening how well the author is able to tie traditional Doctor Who tropes to an epic scale like this one.
As I mentioned above, “Absolution” features even greater performances than Big Finish’s usual high standard. Paul McGann is on stellar form in both the opening “dead TARDIS” scenes as well as the later, “Doctorish” investigation scenes. This is also India Fisher’s best performance as Charley in several years — much of this is down to the writing, of course, but for once she comes across as a real person rather than an Edwardian cipher, and her relationships with her traveling companions ring true. The final scene jars, however. Last among the regular cast, of course, is Conrad Westmaas, and his farewell performance is a tour de force of emotions, culminating in the wonderfully quiet final goodbye. I’ve often criticized the character of C’rizz for being woefully underdeveloped and underused by Big Finish, but Westmaas’s performances have always been first-rate. Yes, it’s “only” audio, and no, he’ll never be namechecked with the television companions by the casual audience — but he deserves to be, and he’ll be missed. The supporting cast, too, is on top form: Glenister is wonderfully sinister, Christopher Villiers gives a nuanced performance of his own as Cacothis, and Tony Barton and Geoff Breton provide a nice function as the narrative double-act of Straith and Phelgreth. Natalie Mendoza rounds out the successful cast as Lolanthia.
Simon Robinson’s sound design is astonishing: from the opening scenes inside the TARDIS to the vast, epic scale of the conclusion, Woodard’s script must have been incredibly challenging to realize, but you’d never know it from the utterly convincing soundscape. The music adds to the atmosphere, and for once it’s used for purposes other than bridging scenes. Barnaby Edwards’ direction is solid as ever — it’s apparent why he’s become the regular director — and even the front cover is eye-catching. CD extras include interviews with the entire cast and some of the production staff.
While “Absolution” is a fine production, it is perhaps a bit too straightforward to achieve true greatness. It also, unfortunately, underscores just how poorly C’rizz was developed throughout his run in the series. But aside from these flaws, it’s a fine production: it features lots of ambition and atmosphere, two things that have been missing from the Big Finish run of late. And with an even bigger landmark looming on the horizon, this bodes well.
Recommended.
7/10