This is the second review in my 2014/5 Big Finish marathon. Check out the whole list here.
The
sixties were a period of both almost unrivalled inventiveness and formulaic
tendencies. Simultaneous to pushing the boundaries, within each four episode
block the same sort of pattern would often be followed. Simon Guerrier’s story
is a complete departure from anything we might’ve seen in the mid-sixties but
at the same time feels completely authentic. To say this doesn’t quite make
sense would be unfair, as all the answers are presented in one form or another
(aside from the final question posed) but it’s tonally a very different affair.
It’s not abstract, but it is surreal, and done well unlike Neil Gaiman’s
attempts over the last three years. This story – or at least its framing device
– is entirely suited to the audio medium.
You
may be wondering how it’s possible for Sara to tell a story when she met her
demise when we last saw her, and this isn’t answered until the conclusion.
Niall MacGregor plays Robert in this, and it’s not revealed for a long while
who he is either. In fact, you’re thrown into this story with almost no
information, which is actually really satisfyingly done. My idea of what time
period this was set in kept switching all the way through, with mentions of
time displacement and scrambling rubbishing each theory as it formulated. A
mention of Hollywood being unknown in the contemporary world could’ve meant we
were either side of it.
But
anyway, Robert turns up at an old guest house in Ely, to hear the stories of an
old woman and to apparently pass judgment, but we’re not given any indication
what for. In the main narrative, the Doctor, Steven and Sara arrive in a
perfect house in the opening episode – Dream
Home. Having looked around, they discover an odd tap. I didn’t really get
why Steven wouldn’t understand it at first, being from the future. It turns on
when he waves his hands near it, a device we do have in twenty-first century
society. I put this down to retro sixties futurism at first, but there is a
much better explanation provided as the mystery of the House is revealed.
Before
too long, the team find a dead woman in the midst of the luxurious living, and
her husband upstairs. There’s no sign that they’ve ever had a proper job yet
have everything they’ve ever dreamed of, literally. In terms of building
tension, this is an exemplary opening episode, concluding with Steven
disappearing. The reason for his absence, whilst admittedly convenient for the
story, doesn’t feel like a stretch of the imagination considering all that’s
happened. I don’t think I’d be able to pick between Dream Home and Home Truths
in terms of quality; this never drops the ball once, both the main narrative
and the framing device. The way in which they’re inextricably linked is genius
and I loved the mystery unfolding for both stories at the same time. I don’t
know how long Guerrier had been saving this one up, but what’s evident in
abundance is that he’s given this a massive amount of thought.
I’ve
read on some other sites that the final twist was quite obvious and that the
reviewers saw it coming a way off. I tell you what, they’re a lot more
perceptive than me. I had no idea. I had a suspicion that the House in the
Doctor’s story was the guest house Robert and the older Sara were in, but I was
mostly too absorbed in the brilliance of the writing and performance to
theorise properly. I loved that the solution wasn’t fully explained, but did
make complete sense, and it spread a massive grin across my face. This does
seem to me to be a ghost story at its most ethereal, examining the nature of
what it means to be a ghost from a number of perspectives. The arc Robert goes
on over the seventy minute story is completely in keeping with Home Truths’ ethos.
I
was instantly compelled to seek out more Sara and Steven stories once I got to
the end of the disc. I’ve never experienced this pairing before, as already
noted, but they were undeniably superb. Getting inside the former’s head and
looking around (less metaphorically than you might think) was brilliant and I
loved that she was a character with many layers, most notably in her envy of
the dead with all their possessions and the pangs of guilt that follow. I
always had a bit of an inkling that I liked Sara without knowing why – I knew
nothing about her! – and Guerrier has only reaffirmed this. Her backstory is
really intriguing, and I wonder how much of this is of the writer’s creation
and how much is lifted from her televised episodes. It feels beautifully
sixties and I really want to spend more time in the company of these
characters. Teamed with the First Doctor, they really are a formidable squad. I’ve
read whilst researching this review (yes, they really are researched, believe
it or not) that there’s a period of six months between The Feast of Steven and Volcano
where the trio went and had more adventures before encountering the Daleks
again. I’m really keen to explore this period, and I intend to get Guerrier’s
other three stories written for the team – The
Drowned World, The Guardian of the
Solar System and The Anachronauts
– at the earliest opportunity.
I
was never in any doubt as to Guerrier’s ability, having recently listened to
his exemplary Shadow of Death, but he
surpassed even that work. Not to do it down, but it was a traditional Troughton
story that I hugely enjoyed. This really is in another league though, in tone
and quality. Although it is part of a trilogy of Sara and Robert stories, I think
this works perfectly well by itself. What others have called the cliffhanger I
think would be a perfectly natural place to end. This really reminded me of a
black and white horror story and they always end ambiguously. In every respect,
this surpasses any goals that might have been originated at the outset.
Richard
Fox and Lauren Yason have handled the score and sound design for this horrendously
spooky tale and as you might guess, they do brilliantly (as always). Injecting
chills with their piano-based soundtrack, their style seems to match Simon
Guerrier and Lisa Bowerman’s intentions perfectly. The sound design is possibly
even more impressive than the music though, setting you on edge if you weren’t
already there. It’s not just the weird atmospheric stuff they excel at though;
the more mundane pieces work just as well, such as with the running water.
These two have a faultless track record with me, and I actively look forward to
hearing more of their work, each addition to their CV reminding me of why I
love them.
Jean
Marsh gives the story a real edge. The story is mostly reliant on her
performance, and she more than steps up to the plate, surpassing any
expectations I might have had. Her aged vocal of the older Sara – she sounds
remarkably younger in the extras – is an inspired choice, and totally fits with
the narrative when considered in retrospect. Niall MacGregor is undoubtedly a
major part of this story, but thinking about his contribution afterwards, he
gets actually quite little airtime. The role required someone who could make an
impact instantly, and as the mysterious but inquisitive Robert, MacGregor is
arrestingly engaging. He and Marsh work well both together and separately, and
both have (and use) intensely listenable voices. Lisa Bowerman is on top form
here, not only in terms of casting but direction too. She proves once again
that she has a firm grip on atmospheric stories, and it’s two for two in this
category.
I’ve
been intentionally vague so far, mostly. To be honest, you’re doing pretty well
if you still don’t know what happens in this after all this time (as I didn’t).
And why are you reading a review anyway? If you’re at this point and haven’t
heard it, just skip to the score and you’ll see it reflects the general feeling
surrounding Home Truths. Gone? Good.
Now I can talk about my favourite scene, where Sara wills the Doctor not to be
able to enter the TARDIS because she wants to explain the mystery of the House.
The following events with the glass chamber and the Doctor’s forgiving eyes was
just… brilliant. I usually listen to these for the first time whilst walking
nowadays, and I actually had to stop on a bench and replay this scene, it was
so dramatic and original Seriously,
there can be no question of Guerrier’s imagination following this Companion
Chronicle.
That
brings me onto a broader view of the story. I’m so glad that the producers
decided not to make these similar to the Short Trips series – actors reading
stories featuring their characters. Home Truths
could easily be the tale of the Doctor, Sara and Steven exploring a mysterious
home, but it’s really enhanced by the extra detail. The introduction of the
second voice makes a massive difference, and elevates the series further.
Although the last story was undeniably pleasurable, Home Truths steps things up a gear and where the frame was
relatively loose last time, it is fully integrated perfectly here. I was
beginning to worry that I wouldn’t ‘get’ the Companion Chronicles. After
reading such good things about them for years (especially from that rogue Joe
Ford) I built up my expectations quite a lot. As I’ve said, The Revenants was good, but it wasn’t
phenomenal, as the reputation of the range has been built to in my mind. I’m
happy to report that any bar I’d set was raised exponentially by Home Truths and I feel I’m beginning to
get it now. I can’t wait to stick the next one on, quite frankly.
I must just mention Simon Holub's gorgeous cover. I'm generally a huge fan of his work (although I do feel it's got a little weaker in recent years) and his best art is undoubtedly in the Companion Chronicles. This is possibly his best though, and I've always been a fan of it. I love green covers and the composition, manipulation and colouring is just flawless here. It's appropriate that it should fit such a superlative release, and I don't feel the cover artists get enough credit in reviews normally. I think Tom Webster may be the new Holub, but nothing he's done yet has displaced the latter's CC contributions. Brilliant.
If
you’ve not already guessed, I quite liked this one. The ideas presented here
and the way they’re used is highly innovative and Simon Guerrier is rapidly
becoming one of my favourite regular Big Finish writers. I look forward to his
next in my marathon (The Prisoner’s
Dilemma) very much. But praise should also go to Jean Marsh, Niall
MacGregor, Lisa Bowerman and – last not but least – the audio aces Fox and
Yason. I really have entered the range proper on a high, and I can’t recommend
this one enough. Even if you have no experience of this era of the show, as I
didn’t, this gripped me utterly. The leads are so good that I’m tempted to cue
up the next in the series right away.
In a Nutshell: A sublime story that excels in
every dimension, examining humanity is a brilliantly obscure fashion.
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