What's it about:
When a serial-killing stalker discovers the truth about Dorian and his
immortality, a dangerous game of cat-and-mouse ensues…
The Painted Man: The body can heal a nasty injury but the
bones always remember...and you will always recall the pain that you
experienced. That is what is like when Dorian dies. It fades from the surface
but it stays inside. That is a rather clever metaphor for what he goes through
each time he is reborn. Healing but never forgetting. He can't be killed for
good but he can be killed over and over until what is left is just a husk of a
man that remembers dying too many times to function. What sort of a sick,
twisted individual would want to do that to a person? There was a point in Jack
Harkness' life where he spilled to the Doctor the various ways that he had been
inadvertently or deliberately killed throughout the 20th Century and I couldn't
help what that might do to a person inside. Dorian experiences as many killings
in this one story as Jack mentions in Utopia and I can only imagine how that
list of horrific experiences has affected him.
Standout Performance: I was scratching about inside my brain
trying to figure out where I head Blake Ritson's voice before. I knew I
recognised it but it wasn't until I checked out IMDB that I realised it could
be any number of television shows given he is quite a prolific actor. Rather
unkindly it was Justin that popped into my mind earlier, the character he
played in The League of Gentlemen and a victim of the German sexual predator
Herr Lipp. He gives a remarkable performance here though, from meek and mild
mannered in the coffee shop to the sick and twisted killer that is playing
games with Dorian. It's not easy to take a character on a journey of those
opposites in half an hour but Ritson pulls it off with consummate ease.
Although let's not undersell what Vlahos does in We Are Everywhere. He's always
good but when given challenging material he periodically rises to something
quite spectacular.
Sparkling Dialogue: 'You must feel very empty, Luke Glass,
to feel the need to do this.'
'You can get used to anything over time, even death...'
'There is nothing waiting for you. I just thought I'd let
you know. Before the end.'
Great Ideas: Twice a day at full tide the room that Dorian
is trapped in will flood and he will suffer another death as the hands of the
waves wash over his head. I love the piece of dialogue that prompts an answer
to the question of whether you would save many or a few in an impossible
choice. I was trying to gauge what my reaction would be if I had to make that call
and wondering if I could live with myself either way. It is wonderful how the
tables turn during this story with Luke seeming to hold all the power until
Dorian stops reacting to the murders. Luke craves the fear, the excitement of
his victims' anguish and when Dorian stops offering that to him he feels in
some way inadequate. Perhaps Dorian is the worst possible victim that a serial
killer could have because he can come back from the dead and tell you what a
terrible job you did of it. How mundane it was. With a few words, he can
emasculate a killer to the point of anxiety.
Audio Landscape: I can honestly say that have never had a reaction to the sound of
the water rushing in as I did during the first scene of this adventure. After
being told that there was no way out of the room and given Dorian's panicked
reactions it feels like you are trapped in that situation with, the water
closing in. I ripped the headphones out of my ears and gasped for breath. What
a way to start a story. Dripping water, a frothy coffee being made, a ticking
clock, Dorian underwater, a strong breeze, Dorian screaming as he is thrown
from the bridge, the phone buttons,
Result: Is Dorian Gray the perfect victim for a serial
killer? The sort of man who can be killed but leaves no shred of evidence
because he springs back to life again but loses a little bit of himself each
time it happens? It's fascinating to go from the half hour hit of supernatural
soap opera of Dark Shadows and it's serial format to Dorian Gray because both
come in bite sized instalments (ideal for a reviewer who wants to fit in an
episode before work) and yet they come with very different challenges for the
writers. With Bloodlust it was a case of a team of writers attempt to create a
running storyline that maintains interest and builds momentum but with each
half hour chapter being satisfying in its own right and carrying the writers
distinctive voice. Dorian Gray's episodes are much more unique because although
there is a (subtle) arc running through them, each piece has to stand up as an
individual story that is being told with such brevity of time that they have to
get to the point like a knife to the heart and keep twisting throughout. It's
like comparing poetry to a novel. With a novel you have the luxury of taking
your time with the characters and the plot but with a poem you have to choose
every word carefully to make as profound an impression. And that is how I feel
about these Dorian Gray audios, they feel perfectly sculpted. Because of the economy
of the setting, characters and even word count the writer has to hit the ground
running every time and it surprises me that it is rare that I am disappointed.
I think with Scott Handcock's guiding hand (it is clear he had a unique vision
for the range from the off) the series is always going to be in good shape. And
whilst series three has made a stab at something different (it doesn't flit
about in time like previous years, it is told in consecutive order) the
individual pieces are still as thrilling and as frightening as ever. It might
just be my favourite Big Finish spin off. This cat and mouse game between
Dorian and Luke is another example of this series at its peak; uncomfortable,
thought provoking and bolstered by fantastic performances: 9/10
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