CALLAN AUDIO DRAMAS

Fans of the classic spy/assassin series Callan got a heads-up during our Callan 50th Interview about upcoming audio adventures -and now Big Finish has made the news official! From the press release: "The classic television series from the sixties returns with a star-studded cast, in brand new audio adaptations from Big Finish Productions. Originally broadcast in 1967, Callan took the burgeoning world of spy drama, and brought a much darker tone to the genre. With James Bond’s career beginning in film in 1962, Michael Caine’s Harry Palmer beginning in 1965 (The Ipcress File) and hot on the heels of the surreal series The Prisoner in 1967, Callan took a darker approach to espionage. Having similar responsibilities to MI5, Callan used the most ruthless and lethal techniques to get the job done, each method meticulously filed by ‘The Section’ (the organisation behind operative Callan), colour coding each lethal tactic. Four series of the original television series were produced between 1967 and 1972, plus a cinema film released in 1974 and a TV comeback in 1981. And now, Callan is set to return on audio at Big Finish. Adapted from series creator James Mitchell’s Sunday Express Short Stories by his son Peter Mitchell, four new adventures will expand the themes explored in the television show." You can hear more from Mr. Mitchel on Big Finish. The first volume will be available in both CD and download editions and will include the stories: File on a Deadly Deadshot, File on a Classy Club, File on an Awesome Amateur, File on a Harassed Hunter. The cast includes Ben Miles (Callan), Frank Skinner (Lonely), and producer/actor, and sometimes Dalek, Nicholas Briggs (Hunter). Order on Big Finish. Big Finish has been committed to creating outstanding audio dramas based on properties such as Doctor Who, The Avengers, The Prisoner, Dark Shadows, and Blakes 7. The ranges have included both newly created stories, as well as productions of classic -and even lost- episodes. You can read reviews of The Prisoner range on Spy Vibe by TV historian Alan Hayes (Hidden Tiger Books): The Prisoner Audio Review vol 1, The Prisoner Audio Review vol 2. Related posts: Avengers Audio, Interview: Alan Hayes (early Avengers Book), Avengerworld Book, Interview: Playboys, Spies, Private Eyes, Umbrella Man. Enjoy!

Selected Spy Vibe Posts: Interview: Ed Hulse Pulp, Avengers Audio Drama, Interview: Callan At 50, Interview: Playboys, Spies, Private Eyes, TWA Returns, Spy Vibe Radio 8, Interview: Ryan Heshka, Mid-Century Modern Schulz, Agent Werewolf, Mata Hair Exhibit, Johnny Sokko 50th, Interview: Trina Robbins, Eddie Izzard, The Prisoner Capt Scarlet 50th, Hugh Hefner R.I.P., Jack Good R.I.P., Interview: Shaken Not Stirred, Callan 50th, Spy Vibe Radio 7, The Prisoner 50th Event, Spy-Fi Event, Kaho Aso 007, Two Million, Bo Diddley, Carnaby Pop, Le Carre Events, Billy Bragg Skiffle, Elvis 68, Jack Kirby The Prisoner, Casino Royale Concert, Review: The Prisoner Vol 2, Interview: The Prisoner Essential Guide, Maud Russell Mottisfont, Spy Vibe Radio 4, Batman Gallants, Adam West R.I.P., Village Triangle, Roger Moore R.I.P., Spy Vibe Radio 3, Sgt Pepper 50th, Satanik Kriminal OST, 60s Overdrive, Make Love in London, Spy Vibe Radio 2, Spy Vibe Radio 1, James Bond Strips, Propaganda Mabuse, Interview: Police Surgeon, XTC Avengers, 1966 Pep Spies, Batman Book Interview, Exclusive Fleming Interview, Avengers Comic Strips, Robert Vaughn RIP, UNCLE Fashions, Thunderbirds Are Pop!, Interview: Spy Film Guide, Lost Avengers Found, The Callan File, Mission Impossible 50th, Green Hornet 50th, Star Trek 50th, Portmeirion Photography 1, Filming the Prisoner, Gaiman McGinnins Project, Ian Fleming Grave, Revolver at 50, Karen Romanko Interview, Mod Tales 2, Umbrella Man: Patrick Macnee, New Beatles Film, The Curious Camera, Esterel Fashion 1966, Exclusive Ian Ogilvy Interview, 007 Tribute Covers, The Phantom Avon novels return, Ian Fleming Festival, Argoman Design, Sylvia Anderson R.I.P., Ken Adam R.I.P., George Martin R.I.P., The New Avengers Comics, The Phantom at 80, 007 Manga, Avengerworld Book, Diana Rigg Auto Show, The Prisoner Audio Drama Review.

REVIEW: THE PRISONER VOL 2

Upcoming release: Big Finish is back with a new set of amazing audio dramas based on the 1960s cult classic, The Prisoner. Written by story maestro, renaissance man (and part-time Dalek) Nicholas Briggs, Volume 2 includes four stories based on original episodes. And like Volume 1, Briggs has mananged to both capture the tone of McGoohan's masterpiece and to bring listeners into interesting new territory. Alan Hayes of Hidden Tiger Books dropped by the Spy Vibe lair this week to review the new Prisoner set and to give us a taste of what to look forward to (spoiler free!). Welcome Alan!

In January 2016 I looked at the first volume of Big Finish’s “The Prisoner” for Spy Vibe and The Unmutual. In the review, I noted that I had been against the idea of anyone trying to revamp Patrick McGoohan’s television masterpiece, and was somewhat trepidatious when I heard that the series was going to be adapted for audio. I was however aware of the company behind the project, Big Finish – my shelves are weighted down by a good few of their CDs – and I’ve always had a great respect for Nicholas Briggs, who was announced as writing the adaptations.

I’m pleased to say that my concerns were pushed quickly aside as soon as I heard the first four audio episodes – “Arrival” (adapted as “Departure and Arrival”), “The Schizoid Man”, “Your Beautiful Village” (an absolutely cracking original story) and “The Chimes of Big Ben”. The treatment afforded to my favourite television series was both faithful and respectful, and yet constantly surprising and inventive. This wasn’t a slavish adaptation in which the writer would add dialogue simply to explain what the listener could not see (“Oh look! A giant weather balloon, bouncing this way! I wonder if it’ll be nice to me?”); this was a ground-up rethink which broadened the canvas of the series without compromising it and incorporated unexpected twists and turns to wrong-foot listeners over familiar with the source material. In short, I adored Volume One. In fact, I considered it the best thing that I’d ever heard from Big Finish – which is some accolade considering the quality of their many ranges, most of which I have experienced to some degree or other.

My one serious complaint was that I’d have to wait a whole year for Volume Two. As it happens, I didn’t know when I was lucky, for the new release was soon put back in order to tie in with the series’ 50th anniversary celebrations, debuting instead in August 2017. While I can understand the marketing reasons behind this move, it is a shame as I feel the series has lost impetus as a result – and, let’s face it, I was impatient to hear more of the audio “Prisoner”. Much more.

The good news about Volume Two is that once again Nicholas Briggs is on board as the writer of all episodes. A long-term fan who understands what makes the series tick, Briggs proved himself in Volume One to possess an extraordinary ability to take the work of McGoohan and other “Prisoner” writers and present it afresh for the 21st century without losing what made it so distinctive and absorbing in 1967. I fear that opening out the scriptwriting duties to other writers would dilute this series, so I hope that Briggs’ association with “The Prisoner” continues and that he remains the only scriptwriter of the audio series.

The big question, of course, is does Volume Two live up to the remarkably high standards of Volume One? For sure, it’s a big ask. It’s like going to the cinema to watch the sequel to your favourite movie; expectation is set so high that it’s almost impossible not to have it fall short. In the case of “The Prisoner”, listeners will now expect clever twists on the familiar stories, presume that bold choices will be made, and will approach the new set of episodes with a heightened expectancy. Fortunately, the standards already established are absolutely maintained, and those bold choices are far bolder this time than I ever expected. Each adapted episode feels not so much a copy of its source, more an inspiration based upon it, and the original story included in Volume Two is unexpected, audacious and exhilarating.

In Volume One, Briggs performed what I thought would be nigh on impossible, when he adapted “The Schizoid Man” for audio. Somehow, he managed to tackle a doppelganger story on audio! And, rather than put it to one side as a difficult episode that could be tackled further down the line, he dealt with it straight away – and added a whole new layer of intrigue to the plot in doing so. Volume Two kicks off with another episode that seems distinctly a bad idea for audio, “Many Happy Returns” (adapted as “I Met A Man Today”), which for a large part of its running time on television features no dialogue at all! Furthermore, it is not even the craziest thing about Volume Two!

By setting the audio adaptation after Number Six’s escape from a deserted Village, rather than beginning with it, “I Met A Man Today” riffs instead on his meeting and getting to know the woman who now lives in his London house, even though he fears that the whole scenario could be a trick on the part of the Village. We also meet Number Six’s bosses in Intelligence, as we do in the televised version. All told, it’s an enjoyable, intriguing mix of the old and the new, and despite its extended running time of 71 minutes, it simply whizzes by.

With no slight whatever meant to Mark Elstob, the absolute star of this episode from my perspective is Lucy Briggs-Owen, an actress with whom I am familiar from her performances as Carol Wilson in “The Avengers” audio series. Due to the restrictions imposed on that series – that only the original 1961 scripts can be used – I’ve long felt that Briggs-Owen deserved a better, more developed role, and as Kate Butterworth in “The Prisoner” she has got it. The character is greatly fleshed out compared to how it appeared in the television episode (in which Georgina Cookson took the part), and Briggs-Owen brings Kate to life beautifully, capturing every last nuance of the script.

Elstob, meanwhile, completely inhabits the role of Number Six across this set of four plays. He is so good that you find yourself forgetting that he is not Patrick McGoohan, or even that you used to think that no actor other than McGoohan could ever be Number Six. It’s not a mimic’s impression that he delivers, more a performance that has McGoohan’s rhythm, his acting heartbeat, and it is absolutely scintillating to listen to. Occasionally, I find myself picturing Elstob in my mind, and other times McGoohan, but neither association jars. They merge in my head as a gestalt Number Six!

If there’s anything negative to be said about “I Met A Man Today”, it concerns its positioning to the fore of the second set of plays. For starters, it is a non-Village episode, and therefore rather atypical in “Prisoner” terms, particularly early on in the run. Perhaps an episode in more recognisable “Prisoner” territory would have worked better in its place? More unfortunate is that the last episode on Volume One was “The Chimes of Big Ben”, the other episode of the series in which Number Six escapes the Village (or believes that he has) and heads for London. Perhaps “I Met A Man Today” would have worked more successfully if placed second or third on Volume Two for these reasons – though characters introduced here do carry on into subsequent episodes, so I assume the order was decided upon for this reason. However, when considered in isolation, “I Met A Man Today” is without a doubt a thoroughly good listen.

The second CD, “Project Six” – a new, radical adaptation of Terence Feely’s “A. B. and C” – segues directly from the previous episode. This innovation (for most “Prisoner” television episodes were standalone stories), making each volume a set of linked episodes, was one of the aspects of Volume One that really appealed to me, so I’m delighted to see this practice continue. The episode itself takes Feely’s concept as a basis and then runs free with it. In my opinion, it is all the better for it. “A. B. and C” has never been among my favourite “Prisoner” episodes, despite featuring arguably one of the most interesting Number Twos in the series (played by the marvellous Colin Gordon). His tendency to push too hard to extract the information the Village needs is explored further here in “Project Six”, with the episode’s female Number Two seemingly willing to risk Number Six’s life in order to succeed. The scenarios into which Number Six is projected do not match those seen on screen, though one certainly has distinct parallels. The looseness of the adaptation certainly keeps the listener on their toes, particularly ones like me who think they know what’s going to happen! This adaptation constantly surprises, being thrilling, daring and clever, without ever losing sight of its inspiration.

The third play in this set is adapted – without change of title – from Roger Woddis’ sublime episode “Hammer into Anvil”, which has always been among my favourite episodes of “The Prisoner”. This follows the television episode a little more closely than either of the other adapted episodes on this volume, but still there are plenty of twists and tweaks that prevent it from becoming predictable. As in the source material, Number Six is inventive in how he destabilises the new Number Two (John Heffernan), though his methods of doing so are slightly different to those which “Prisoner” fans will be familiar with.

John Heffernan does well as the tough Village overlord who becomes increasingly paranoid as a result of Number Six’s endeavours. I must be honest and say that I can’t ever see Patrick Cargill’s astounding performance in the original television episode being eclipsed – without a doubt, the single most impressive acting turn in the series, in my opinion – but bearing in mind my prejudices regarding this specific role, Heffernan does remarkably well.

As with the first volume, one episode here – the fourth – is a completely original creation from the mind of Nicholas Briggs – and it’s a real doozy that takes one helluva risk. It goes by the title of “Living in Harmony” but has nothing to do with its television equivalent (Briggs playing with our preconceptions once again) other than that it is certainly its equal in terms of genre-hopping. Briggs’ “Living in Harmony” is probably best described as a wildly ambitious mix of “The Prisoner” and “Out of the Unknown”, with dashes of “2001 - A Space Odyssey” and “Space: 1999” thrown in for good measure, but I’ll leave it at that for this non-spoiler review. Suffice it to say that it takes “The Prisoner” in new directions but still feels absolutely connected to the series as we know it. In common with “Your Beautiful Village” in Volume One, “Living in Harmony” is a fearless experiment, akin to the direction that McGoohan himself took in the second production block of the television series with episodes such as “Do Not Forsake Me, Oh My Darling”, “Living in Harmony” and “The Girl Who Was Death”. The difference here is that these stories are woven into the fabric of Big Finish’s “The Prisoner”, whereas back in 1967/8, those episodes seemed strangely out of kilter with what had gone before. My only reservation with the audio “Living in Harmony” is that it now seems unlikely that the television episode of the same name will be adapted, which is a shame.

In terms of its casting, it was a pleasure to welcome Sara Powell back, so memorable from Volume One, and the same can definitely be said of the marvellous, fruity-voiced Michael Cochrane in a cameo reappearance as Number Two. Always a joy.

Following on from the exemplary sound design and music on the first volume, these new plays are abuzz with rich soundscapes and superb incidentals, and even a jazzed up version of the theme when you least expect it. Iain Meadows (sound design) and Jamie Robertson (music) have, if anything, excelled themselves on Volume Two. It all feels recognisably “Prisoner” but with a twist, which of course parallels Brigg’s contributions as writer.

It’s well worth buying “The Prisoner” Volume Two direct from Big Finish as, repeating the offer they made with Volume One, ordering Volume Two from their website (www.bigfinish.com) will secure you incidental music downloads and script PDFs for each episode. Additionally, a bonus behind the scenes documentary is included on the fifth CD in the set, and this is also well worth a listen.

The biggest drawback with the set, as far as I am concerned, relates to its packaging, in that it does not follow the lavish design of the first volume, which was presented in a book-style box. The Volume One package was quite glorious, visually exciting and highly collectible. Clearly, I was alone in thinking this, or at least it didn’t capture the imagination of others in quite the way it captured mine. Consequently, Volume Two is contained in jewel cases surrounded by a card sleeve. Thickset and cumbersome, despite the attractiveness of the cover designs. I do wish Big Finish would spare a thought for how their releases are to be stored. If I collected all their ranges, I’d have to move out and live in the shed! Small is beautiful. Chunky is clunky.

Rant over… It’s what’s inside that really counts, and these plays are really something special. These “Prisoner” releases are to be applauded for how they have breathed new life into a fifty year old television series – a show that continues to be relevant and popular but which has become as familiar to me as an old armchair. As a fan since the very early 1980s I feel very sure of what “The Prisoner” is, what its stories are, and when I watch it, I know what is coming next; every line of dialogue, every camera movement, every sound. What Nicholas Briggs and Big Finish have done, with the help of many talented actors and production people, is give me a new “Prisoner” which is just as intelligent, immersive, ground breaking and risk taking as the original, but which is fresh and repeatedly takes me by surprise. Big Finish take the “Prisoner” stories back to basics and reinvent them in clever ways, paying homage to McGoohan’s creation while never betraying it.

The next volume of “The Prisoner” simply can’t arrive soon enough for me. I look forward to Nicholas Briggs’ inspired reinventions of another batch of episodes… But come on guys and girls, let’s not have an eighteen month wait for our next visit to The Village!

Thank you, Alan! Great to hear more about this new set. Spy Vibers can pre-order it directly from Big Finish (August release). Photos courtesy of Big Finish. Below: the beautifully designed first Prisoner box set. Related posts: Interview: The Prisoner Guide,  Portmeirion Photography 1, Portmeirion Photography, The Prisoner London Flat, Alan Hayes Prisoner Audio Review, Interview: Ian Olgivy, Interview: Brian Gorman, Prisoner Supergrass, Prisoner XTC, Prisoner XTC 2, Prisoner DC Fontana.

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THE PRISONER AUDIO REVIEW

Big Finish recently released their first set of audio dramas based on Patrick McGoohan's original Prisoner series. The company has produced outstanding audio stories for fans of The Avengers and Doctor Who in the past, so I remained cautiously optimistic when I first heard the trailer for their new adaptation. Could anyone but McGoohan really tell this story? I've been totally swamped with teaching, planning a school trip to the UK, and co-leading a large writers festival, so I haven't had time to listen to these new recordings yet. But fellow agent, Alan Hayes, has checked out the new set and he has written an in-depth review for The Unmutual, which he kindly agreed to share with Spy Vibers. As you may know, Alan runs The Avengers Declassified and Randall and Hopkirk Declassified sites. He has also co-authored books about The Avengers, including an upcoming anthology for which I contributed the afterword (stay tuned!). You can read our past Avengers interview here. Alan, welcome back to Spy Vibe!

Having picked up the first volume of Big Finish’s “The Prisoner” at their event in Slough on 16th January 2016, my wife and I have now taken our first steps into the world of Number Six on audio… To begin with, long before we got home from the event, I had completely fallen in love with the set on an aesthetic level. The package is presented beautifully in a lavish book-style affair complete with an outer thick card slip – so much thought has clearly gone into the design of this ‘book’. It really is a thing of beauty. But appearances can be terribly deceptive… can’t they?

When I’d first heard of the idea to adapt “The Prisoner” for audio, I had – as a fan of the series of some 34 years standing – been perhaps understandably a little sceptical about the idea. I was familiar with the work of Big Finish and Nicholas Briggs, who was announced as being the writer of the audio version, but I wondered whether anyone could take this classic, nigh on perfect series and reinvent it successfully for a new medium. How could it be done without Patrick McGoohan, the maverick genius behind the 1966-67 original? I doubted whether it was actually possible. I was reassured though that if anyone could make it work and be faithful and respectful to McGoohan’s groundbreaking original, it was Big Finish. 

Despite this, when I heard the teaser trailer that was released towards the end of September 2015, the skepticism bit me somewhat more deeply. Parts of it felt rather overplayed, and I was on the point of thinking “this is not for me. I have the television series, and that’s all I really need”. A second trailer did little to change my mind. However, what began to shift my perception was the half-hour extract of “Departure and Arrival” issued as a free download on Christmas Eve. Hearing a lengthy section of the first episode made me realise that the trailers were not really representative of the finished product, and it drew me in very quickly. A series of promotional video featurettes were then released over six days, counting down to the day that the first volume was to be published – appropriately the sixth day of the first month (six of one!) 2016. The featurettes gave me an insight into the thinking behind the release, with interviews with the likes of Nicholas Briggs, the new Number Six – Mark Elstob – and other people involved in the production. These gents said the right things, hit the right notes… Maybe, just maybe, this could be rather special…

By the time that Big Finish Day 8 came, I was practically champing at the bit to get hold of “The Prisoner” on audio, so while one must question the choice of clips used in the trailers, Big Finish’s marketing of this release eventually drew me in and had me on tenterhooks, desperate to hear the finished product. Upon returning home from the event, we sat down to listen to the first CD, “Departure and Arrival” (based on the opening episode of the television series, “Arrival”). We slotted the CD into the player, fired up our vintage 1977 analogue amplifier (you really have to do these things in the right way, you know!), hit ‘play’ and, 78 minutes later, we both professed to being rather blown away by what we had heard!

On the evidence of “Departure and Arrival” alone it was clear that Nicholas Briggs and the team had truly delivered. It's a bold reimagining, with some novel tweaks. There's enough of the original for it to feel familiar and authentic, but enough of the new to keep the listener guessing, intrigued. The innovations even extended to wrong-footing us both – we ‘knew’ the ending, or at least we thought we did, as Briggs has very cleverly turned this first episode and its successor in this set into a two-part story, introducing characters from the second (and third) episode into the first, giving it a serial form. Perhaps one of the few weaknesses of the original series is that you rarely got the feeling of there being a narrative progression, something very much “of its time” in terms of film series production in the Sixties. The original series could be shown in more or less any order, as long as “Arrival” was placed first and “Once Upon a Time” and “Fall Out” at the end; the audio series is designed to be listened to in a definite order (after nearly 50 years of debate about the most appropriate running order of the television series, it is perhaps a relief that the audio version will generate a lot less confusion in this area!).

The second CD, a new adaptation of Terence Feely’s “The Schizoid Man”, continues on directly from “Departure and Arrival”, harking back to the last time these two episodes were sandwiched together – in 1982 for the Precision Video VHS release of these episodes, which Nicholas Briggs credits as part of his inspiration for including the episode so early in the series. “The Schizoid Man” ordinarily appears fifth in the running order, but Briggs clearly likes to keep us on our toes and plays with the sequence of episodes to good effect.

As this second episode unfolds, we soon realise that there has been some clever thinking going on regarding Number Nine (Sara Powell), who is first heard in “Departure and Arrival” (originally “The Woman” played by Virginia Maskell on television). This character continues into “The Schizoid Man”, assuming the function of Alison (Jane Merrow) from the original version, therefore becoming an integral part of the doppelganger story. Once again, Briggs successfully revisits and remixes this classic episode, and – somehow – pulls off what might seem impossible, to successfully translate a very visual concept, that of a man set against his duplicate, to the audio medium. It’s bonkers, but it works. In many ways it actually adds an additional layer of disorientation for the listener, who comes to question which ‘Number Six’ is which (something which does not happen in the television version, as the duplicate wears a piped blazer that is the negative image of that worn by the real Number Six).

The third episode, arguably the most tantalising since it is the only completely original story included in the set, is titled “Your Beautiful Village” and uses the audio medium to its full potential. This is a story that would scarcely be possible to mount on television, since for the greater majority of the narrative Number Six is plunged into complete darkness. As the story progresses, we realise that all of his senses are being suppressed – and at times the listener is as much in the dark as Number Six, to paraphrase “Hammer into Anvil”. The tone of the piece is as sombre as the lighting, and the script – which presents a torture as disturbing as any explored in the television series – pushes Number Six to the extremes of emotion. It is a strong episode that stands up well against the adapted classics that precede and follow it. Nicholas Briggs is to be congratulated for devising an imaginative scenario which fits seamlessly into the series thematically and exploits the audio medium brilliantly.

If the episode has a weakness, then it is that the means of Number Six’s sensory deprivation is never adequately explained. Indeed, it is not entirely clear where hallucination ends and reality begins, and this brings one to question whether or not the whole episode takes place in Number Six’s mind.

I considered that perhaps the extra running time afforded to the final episode, “The Chimes of Big Ben” (which clocks in at 78 minutes), might shed some light on the questions arising from “Your Beautiful Village”, but despite some episode-to-episode continuity (a welcome facet of the release as a whole) they were not addressed. I suspect that a further listen and a read of the script – included in the downloadable bonus content available to those who purchase through the Big Finish website – might bear fruit.

Despite my (minimal) disappointment on this front, “The Chimes of Big Ben” proved to be a fine conclusion to this first volume. The adaptation, for the most part, adheres to Vincent Tilsley’s original script a little more closely than “Departure and Arrival” and “The Schizoid Man” do to their own source materials; it is only the conclusion of the episode that deviates markedly from the familiar television version, with other changes being mainly for reasons related to the transition to audio. Far be it from me to spoil the ending for anyone, but suffice it to say that it is imaginative and effective.

The sound design of “The Prisoner – Volume 1” is rich, definitely on a larger, more cinematic scale than your average BBC Radio 4 drama. The soundscape plants you firmly in the Village, complete with authentic sound effects and atmospheres and a to-die-for theme and incidental music score by Jamie Robertson. The composer riffs on familiar “Prisoner” themes, to the point where not only does he succeed in creating a recognisable, if subtly tweaked, soundscape complete with little audio triggers that delight the ear of at least this die-hard fan, but he also makes it fundamentally clear that he has done his homework. It is a fine work in its own right – and it is worth noting that purchasers who order “The Prisoner – Volume 1” direct from www.bigfinish.com receive an exclusive digital download of Jamie’s original soundtrack, running to more than 150 minutes, as well as other downloadable goodies including the aforementioned scripts. (And this is in addition to the documentary, “By Hook or By Crook”, which is included on the fifth CD in the set; also very well put together.)

One particular innovation that is arguably very much in keeping with McGoohan’s vision is the incorporation of modern-day technology in the audio series (which remains set in 1967). While this might initially seem a radical thing to do, the original series clearly employed imagined technology of the future in the hands of the Village controllers, and the inclusion of tablets, Wi-Fi and the like is merely an extension of that, implying that Number Six’s captors had access to cutting edge, developmental technology that wouldn’t be released to the wider world until much later. It is of course something that could only have been included with the benefit of hindsight, but it’s an interesting idea regardless.

I had a few very minor reservations about these productions – I felt that Number Six as depicted is too quick to resort to or threaten violence, often against those weaker than him; the “Village Voice” (Helen Goldwyn) is directed to be rather too manic and irritating and therefore doesn’t really capture the honey-dripping, gaily delivered public addresses heard in the original series (voiced there by Fenella Fielding); and perhaps too many voices are provided by a single actors, meaning that some characters are a little stereotypical (Cobb becoming a gruff Cockney, for instance) – but none of these is sufficient to spoil the listening experience. Overall, “The Prisoner – Volume 1” was a joy to listen to – something evidenced by the fact that we devoured the whole set within a week (ordinarily with this sort of thing, we can go for weeks between episodes). With Volume 2 a year away – No! Say it isn’t so! – we really should have paced ourselves, but it was all so entrancing that patience, virtuous though it may be, quickly became a stranger.

Briggs’ reinterpretation of the series has plenty about it that is of itself rather than of the original, sufficient to make it work on its own terms, independent of the original. The audio version doesn't replace or slavishly copy the classic, iconic original – it breathes new life into what we as fans of “The Prisoner” have become perhaps overly familiar with over the course of dozens of repeat viewings, and offers a fresh take that promises to be successful and entertaining in its own right.

It is to Mark Elstob’s credit that he completely convinces the listener despite being presented with the sort of challenging material which could stretch any actor, particularly in “Your Beautiful Village”. He does a fine job playing Number Six across the four plays on this set. In many ways, one might have thought that he was on a hiding to nothing – the comparisons to McGoohan were inevitable, and McGoohan, as creator of the role and to a great extent the series itself, will always be regarded as the definitive Number Six; what room in the series is there for a young pretender? Despite the magnitude of his task, Mark Elstob has imprinted his mark on the role very, very quickly, and with great assurance. At times it's uncanny - while it's certainly not a vocal impression of McGoohan that Elstob delivers, there are moments when you really can hear Patrick's spirit coming through in Mark's performance which captures the great man’s clipped delivery and rhythm of speech. It is quite remarkable – and, I must be honest, thrilling to hear – but the actor and Nicholas Briggs have been clever enough to bring some facets to the character and performance that are entirely Elstob-Six rather than McGoohan-Six (not least of which are the character’s more natural disposition to female characters!).

There is also a superb line-up of star name actors taking turns to assume the mantle of Number Two. Celia Imrie turns in a fine performance slightly reminiscent of Mary Morris (“Dance of the Dead”) and presents a definite change of tone after John Standing’s rather jovial and almost chummy turn in “Departure and Arrival”. Ramon Tikaram makes his mark also in “Your Beautiful Village”, his interpretation adding considerably to a very disconcerting episode. My favourite of the four though is definitely Michael Cochrane, saved up until the set’s final episode. With Leo McKern’s interpretation so familiar and impressive, I didn’t expect to “settle in” with this Number Two quite as quickly as I did. I am so unfaithful. Punish me now… for Cochrane pushed my memory of McKern to one side almost instantly, grabbing the part with gusto and a vocal performance that is a true highlight of the set; fruity and gloriously lascivious. I hope, like McKern did in the original series, Cochrane returns to contest another battle of wills with Number Six – and I would also welcome return engagements by Celia Imrie and John Standing (this is not a slight on Ramon Tikaram as listeners will ultimately realise) though obviously some new “new Number Twos” would be very welcome in the next boxset too!

Beyond the “headline acts” taking turns to wear the Number Two badge, there are also two performances of particular note from first Sara Powell as Number Nine, complete with her delicious Caribbean accent, and then Kristina Buikaite, apparently the only Lithuanian actress working in the UK, supplies an authentic voice for Nadia Racowsky in “The Chimes of Big Ben”. Both greatly enhance their respective episodes, and one wonders whether they will feature again. The clues are there to suggest that they may well do so.

Finally, there’s a ‘documentary’ disc in the set – called “By Hook or By Crook” – but this isn’t so much a documentary as a behind-the-scenes production diary. Running to a whopping 74 minutes, this gives a fascinating glimpse into the making of the plays in this first volume. A worthwhile and welcome bonus to round off the set.

To sum up, I’m delighted that Nicholas Briggs and the Big Finish team have managed not only to do something I considered near to impossible – to live up to and be true to one of the greatest television series ever made – but they have done so in great style. It’s familiar and yet different; faithful and yet experimental; authentic and yet remarkably imaginative.

It is everything I hoped it might be – and then some. It is quite possibly the best thing that Big Finish has ever produced. It won’t win over every fan of “The Prisoner”, but it has certainly won over this one. Bring on the next volume… and more!" 

Thanks again to Alan Hayes for sharing his impressions of The Prisoner Volume 1. Below: The next Big Finish installment, The Prisoner Volume 2, is scheduled for a January, 2017 release.

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