#Beth Robson

[themagicoolcat]

day 10 and it’s swing friday!! i chose to do aj this week :DD

she’s just a silly little kity! because she’s a swing kitty from the original london production she doesn’t have very many images i could use as reference so i came up with the pose all by myself. it probably would’ve been better to draw her after i drew jemi but at least i’ll have a colour palette for when i draw jemima!! :D

no pose reference to be seen today i came up with the pose in my brain all by myself without a reference so if it looks a bit weird or wonky that’s why…

i combined these two designs for my drawing of aj the first one is of beth robson in 1990 playing aj and the other is from 1997 but i’m not sure who it is who’s playing her because the wiki didn’t list a name unfortunately ;(

[docrotten]

PARENTS (1989) – Episode 264 – Decades of Horror 1980s

“Uh, if you take a black cat and broil it in the oven, and you peel off the skin on the bones and take it off… and you chew on the bone, you’ll be invisible.” Just a little something for show and tell. Don’t try it at home, children. Join your faithful Grue Crew – Crystal Cleveland, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they check out some very weird parents in the aptly titled film… Parents (1989).

Decades of Horror 1980s Episode 264 – Parents (1989)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/), which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A young boy living in 1950s suburbia suspects that his parents are cannibalistic murderers

Director: Bob Balaban

Writer: Christopher Hawthorne

Selected Cast:

Randy Quaid as Nick Laemle

Mary Beth Hurt as Lily Laemle

Sandy Dennis as Millie Dew

Bryan Madorsky as Michael Laemle

London Juno as Sheila Zellner (as Juno Mills-Cockell)

Kathryn Grody as Miss Baxter

Deborah Rush as Mrs. Zellner

Graham Jarvis as Mr. Zellner

Helen Carscallen as Grandmother

Warren Van Evera as Grandfather

Wayne Robson as Lab Attendant

Uriel Byfield as Little Boy

Mariah Balaban as Little Girl

Larry Palef as Announcer

You might not get what you’re expecting in Bob Balaban’s Parents (1989). Labeled as a horror comedy and starring Randy Quaid, one might expect some wild-and-crazy, whack-a-doodle hijinx. Instead, you get the button-down collar, tie-and-lab-coat-wearing version of Mr. Quaid, and some very dark humor with a heavy emphasis on dark. Quaid and Mary Beth Hurt are the parents of Michael (Bryan Madorsky), an emotionally flat and expressionless kid living a nightmare with his parents. Enter Sandy Dennis as Millie Dew, the school social worker, who jumps right into the frying pan. Literally. Mileage may vary regarding outright laughs, but the Grue-Crew enjoyed the watch and have much to discuss.

At the time of this writing, Parents is available to stream from Tubi and on physical media as a Blu-ray disc from Lionsgate Home Entertainment. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Chad, will be Aenigma (1987). It’s Fulci time!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[amcsociety]

Toni Rembe Theatre’s OZ

Experience the enchantment and wonder of "The Wizard of Oz" brought to life in a dazzling musical production at Toni Rembe Theatre. This beloved classic, based on the timeless book by L. Frank Baum, is a feast for the senses with music and lyrics by Harold Arlen and E. Y. Harburg, accompanied by background music composed by Herbert Stothart.

Under the masterful direction and choreography of Sam Pinkleton, the talented cast takes center stage, delivering sensational performances that will leave you spellbound. Chanel Tilghman shines as Dorothy Gale, capturing the essence of this iconic character with grace and charm. Alongside her are the incredibly talented El Beh as Uncle Henry, Oz Guard, and Coroner, showcasing their versatility by also playing the cello, and Darryl V. Jones as the endearing Tin Man and Hickory.

On some days, Katrina Lauren McGraw mesmerizes as Glinda and Aunt 'Em, while Danny Scheie brings the Scarecrow and Hunk to life with his impeccable comedic timing. Cathleen Ridley roars onto the stage as the Lion and Zeke, captivating the audience with their powerful presence. The wickedness of the Wicked Witch of the West and Miss Gulch is expertly portrayed by Courtney Walsh, leaving a chilling impression.

The supporting cast, including Ezra Reeves, Travis Santell Rowland, Ada Westfall, and Beth Wilmurth, add depth and vibrancy to the production, each displaying their immense talent and contributing to the seamless storytelling. The ensemble, led by Rowland as the dance captain, showcases their remarkable skills, creating visually stunning dance numbers that will leave you breathless.

The creative team behind this extraordinary production has left no detail untouched. The scenic and costume designs by David Zinn transport the audience into the magical land of Oz, while Stacey DeRosier's lighting design adds depth and nuance to each scene. Ursula Kwong-Brown and Danny Erdberg masterfully create a captivating soundscape that immerses the audience in the world of Oz. Swings also include Angel Adedokun, Keiko Shimosato Carreiro, Kunal Prasad, and Ryan Patrick (RP) Welsh.

Special mention must be made of Ada Westfall, who not only provides additional orchestrations but also serves as the music supervisor and assistant music director. Their expertise ensures that the music and melodies resonate beautifully throughout the performance. The dedication and talent of David Moschler as the music director and Leigh Robson-Davis as the associate director further elevate the production to new heights.

Furthermore, the inclusivity and diversity of this production deserve praise. The decision to include LGBTQI actors and actresses in key roles, such as the Wicked Witch, Lion, Tin Man, and Scarecrow, demonstrates a commitment to embracing and celebrating all identities. By making traditionally binary roles gender-fluid, the production opens its arms to the queer, trans, and non-binary community, fostering a more accepting and inclusive theatrical experience.

“The Wizard of Oz" at Toni Rembe Theatre is a triumphant musical spectacle that will captivate audiences of all ages. With its exceptional cast, imaginative staging, and breathtaking performances, this production is a testament to the enduring magic of one of the world's most beloved stories. Don't miss your chance to journey down the Yellow Brick Road and rediscover the power of friendship, courage, and the pursuit of one's dreams.

This recent incarnation of “The Wizard of Oz” will have you transported into a truly enchanting experience with the mesmerizing production of "Wizard of Oz" at the American Conservatory Theatre's Toni Rembe Theatre in San Francisco. This adaptation offers a fresh twist on the beloved classic, captivating audiences of all ages with its unique approach and inclusive casting.

One of the standout features of this production is its scaled-down cast, which creates an intimate atmosphere and allows for a more immersive experience. What sets this rendition apart is the innovative use of common children's toys and party props, transforming the stage into a familiar and magical world that resonates with everyone. From the twister mat to pompoms, an inflatable dinosaur, functional children toy cars and oversized toy houses and even a typewriter. The contemporary adaptation was also improv’d and developed with children in mind. Not naughty but there are some jokes for the older crowds but as the younger peeps say these days… iykyk!

"The Wizard of Oz" tells the captivating story of Dorothy Gale, a young girl from Kansas, who is swept away by a tornado to the enchanting land of Oz. In her quest to return home, she embarks on a remarkable journey accompanied by her loyal dog, Toto, and meets extraordinary characters along the way.

Dorothy befriends the Scarecrow, who desires a brain, the Tin Man, who longs for a heart, and the Cowardly Lion, who seeks courage. Together, they navigate the treacherous Yellow Brick Road in search of the mysterious Wizard of Oz, hoping he will grant their wishes. Along their path, they encounter challenges and confront the Wicked Witch of the West, who relentlessly pursues Dorothy and her companions.

Throughout the adventure, Dorothy learns the importance of friendship, self-belief, and the true meaning of home. With the help of Glinda, the Good Witch of the North, Dorothy discovers that the power to return home lies within herself all along.

"The Wizard of Oz" is a timeless tale that reminds us of the power of dreams, the strength of human connections, and the boundless possibilities that await us when we embark on an extraordinary journey of self-discovery and courage.

The stage management team consists of Chris Waters, Megan McClintock, Penny Pendleton, and Dick Daley. The creative team includes David Zinn as the scenic and costume designer, Stacey DeRosier as the lighting designer, Ursula Kwong-Brown as the sound designer and music consultant, Danny Erdberg as the sound designer, Amanda Villalobos as the Toto puppet designer, Ada Westfall as the music supervisor and assistant music director, David Moschler as the music director, and Leigh Robson-Davis as the associate director. The casting was done by Katie Craddock and the Casting Collective (Laura Espino and Keith Carames). The A.C.T. producing team comprises Andy Chan Donald as the associate artistic director, Louisa Liska as the director of general management and operations, Amy Dalba as the general manager, and Martin Barron as the director of production. The production is directed and choreographed by Sam Pinkleton. The American Conservatory Theatre San Francisco's Toni Rembe Theatre is led by Pam McKinnon as the artistic director and Jennifer Bielstein as the executive director.

“The Wizard of Oz” must close June 25, 2023 and you can buy tickets at act-sf.org.

[junkyard-gifs]

Jennyjennydots!

Double Jenny, for final matinee shenanigans in the 1991–92 season of the London production (25 March 1992). Beth Robson (main Jenny) and Samantha Biddulph (Jenny 2) came up with some naughty last-minute fun.

Obviously not too last-minute, though: everyone knows what they're doing, and the Gumbie trio changed one of the lines. "And she's even created a beetles' tattoo" has changed to "And she's even.... [something???] ... for you!"

Guy-Paul de St Germain is Mistoffelees, and when I posted this on insta he confirmed the identity of the Jennys - and must have tipped them off, since they then turned up in the thread and added their own comments. They were both technically swings for this season, but the first cast Jenny (Louisa Shaw) had, according to Guy-Paul's encyclopaedic memory, left the show before the end of the run to move to Les Misérables. (Screenshots below the cut.)

To be clear: the tap duet/battle with Mistoffelees was an established thing at the time, as was having Misto do most of the singing that now goes to Munkustrap. So Beth and Guy-Paul do that bit as per usual, while Samantha pretends to 'conduct' the beetles in the background.

Beth Robson, by the way, was dance captain for the 1998 film, and there's a brief glimpse of her covering Jenny in the 'Glamour cat' reprise at the end of Act I (pulling Jemima away from Griz and hissing at her).

[white-cat-of-doom]

Here is another programme part of my CATS merchandise and related items collection. This is from the first stop on the CATS UK Tour 1989, May to November 1989, in Blackpool at Winter Gardens (not to be confused with the Winter Garden Theatre in New York where the CATS Broadway production was being held at the same time).

Like all the other programme I own, the cast list is filled with notable individuals, however, there is more significance in this programme as it marks thek being involved in CATS for the first time!

Rosemarie Ford is Bombalurina for this stop, interestingly the only other time she played the character in a production of CATS outside of the 1998 film. Rosemarie would play Bomba in 1991 in the Royal Variety Production, and in 1998 as part of Hey! Mr. Producer. After Blackpool, she would later play Griabella on the next stops of the tour, and then in the London production over a course of six years. This is where her first involvement in CATS started.

Geoffrey Garratt is Skimbkeshanks (and a dance captain), a role he would also later play in London and in CATS (1998).

John Partridge is Alonzo/Rumpus Cat, a role he played for years before he played Tugger. This is also his start in CATS.

Beth Robson is a Swing, and as far I can tell, this was also her start in CATS.

Last but not least, the start of Rory Campbell in CATS, who played Bustopher Jones, Gus, and Growltiger here, and who later play the same roles in Zurich 1991-1992 and in London from November 1992 until June 1994.

This is a very interesting programme in my collection and it certainly has a history to it!

[videomessiah]

Parents (1989)

[ozkar-krapo]

V/A "Polipoetry N°3 : Poesia Sonora Americana"

[Ernest ROBSON "17 Noises in Testicles of an old Giant" / Bliem KERN "Ke kee kee alahboom" / Beth ANDERSON "I wish I was Single again" // Charles AMIRKHANIAN "The Putts"]

(7". 3Vitre. 1983 / rec. 1980-81) [US]

[kaitlinj16]

My Comfort Characters 🖤

[white-cat-of-doom]

That Jenny cover is the talented Beth Robson, who was the dance captain for the 1998 film!

She was a swing in London on and off from 1990 until 1998, when she was principal Tantomile for most of 1998 and 1999!

Here she is as a swing in 1990:

And then as Tantomile in 1998 (with Richard Reyland as Coricopat and Chris Compton as Bill Bailey/Tumblebrutus. I do not know who the other Cat is):

We all know that scene in 98 Cats where Jo covers Victoria. I can’t help think of Griz’s second appearance where Jenny … I’m pretty isn’t Susie Mckenna.

Here’s a shout out to the 98 Jenny cover!

[cinemgc]

Arrow (4ª Temp.)

Episodio 12: "Unchained"

 • Dirección: Kevin Fair

 • Guion: Speed Weed, Beth Schwartz

 • Fotografía: Corey Robson

 • Cast: Katrina Law, Rila Fukushima

[ozu-teapot]

Films Watched in November 2021

The Web | Michael Gordon | 1947

Dragged Across Concrete | S. Craig Zahler | 2018

Framed | Richard Wallace | 1947

Klute | Alan J. Pakula | 1971

The Mob | Robert Parrish | 1951

D.O.A. | Rudolph Maté | 1949

D.O.A. | Annabel Jankel / Rocky Morton | 1988

Dangerous Crossing | Joseph M. Newman | 1953

Gun Crazy | Joseph H. Lewis | 1950

Hell Drivers | Cy Endfield | 1957

Moss Rose | Gregory Ratoff | 1947

Devil in a Blue Dress | Carl Franklin | 1995

Affair in Trinidad | Vincent Sherman | 1952

Tight Spot | Phil Karlson | 1955

Murder by Contract | Irving Lerner | 1958

The Long Goodbye | Robert Altman | 1973

American Gigolo | Paul Schrader | 1980

Stage Fright | Alfred Hitchcock | 1950

Johnny O'Clock | Robert Rossen | 1947

The Dark Past | Rudolph Maté | 1948

Vortex | Beth B / Scott B | 1982

Convicted | Henry Levin | 1950

Murder, My Sweet | Edward Dmytryk | 1944

Between Midnight and Dawn | Gordon Douglas | 1950

Mona Lisa | Neil Jordan | 1986

Phffft | Mark Robson | 1954

The Criminal Code | Howard Hawks | 1930

Man Bait | Terence Fisher | 1952

The Blue Gardenia | Fritz Lang | 1953

Bold = Top Ten

Some notes: Bar two (Phiffft and The Criminal Code) all the films this month I watched “for” Noirvember, but were they all noirs? Is Moss Rose Gothic / Gaslight Noir or a Victorian murder mystery, if Howard Hawks' 1930 film The Criminal Code isn't considered a Noir then how come it's almost identical 1950 remake Convicted is? In any case they all get the #Noirvember tag and as for posting caps there will be a little Noirvember overspill into the start of December as there has been other years!

[cumbriacrack]

Live showcase of local talent returns to Rosehill Theatre AFTER 4 Productions present their next Live & Electric event at Rosehill Theatre, Whitehaven, on Saturday 1 June. Full story: https://www.cumbriacrack.com/2019/05/08/live-showcase-of-local-talent-returns-to-rosehill-theatre/

[fluffytuffles]

beth robson?

[junkyard-gifs]

Jemima being protected by the Most Mum Cat! Here played by Beth Robson rather than Susie McKenna - I think this is the only scene in the film where she covers the role, or at least, where we can see her clearly enough to be sure.

[white-cat-of-doom]

Another addition to my CATS programme and brochure collection is this CATS London programme from February 1999. I would have loved for there to be more photos in here, but these are likely in the companion brochure, which I do not own (yet).

The cast here includes some familiar faces from CATS (1998) like Veerle as Jemima (my favourite Jemi) and Beth Robson, who was the dance captain and assistant choreographer, and was an on set swing (she covered Jennyanydots for that one short reprise of 'Grizabella the Glamour Cat').

Also featured is Jack Rebaldi who played Munkustrap on and off in London from 1997 to 2001, and then decided that he might as well do Berlin (2002-2003), Madrid (2003-2004), Dusseldorf (2005), the German Tour (2005-2006), and the German Tent Tour (2010) as well. Because why the hell not when you can speak and sing in at least three different languages (I have been told that he actual speaks six different languages) well enough to perform, and are just generally taller than everyone else? Everytime you look at the cover of CATS (1998) with the cast photo, that is Jack as Munk (Veerle is also on that cover as Jemima).

There are also many other cast members in this programme who were a part of other previous and future productions of CATS, such as Antwerp 1996 and the UK tours.

As I have said before, these are snapshots into CATS history, and I am glad to own them!

[bobbyshaddoe80]

Liberated Audio Reviews

Blake's 7 - The Liberator Chronicles Vol. 2

RELEASED AUGUST 2012

Recorded on: 18 October and 25 November 2011, and 15 March 2012

Recorded at: Moat Studios

Review By Robert L. Torres

The Magnificent Four by Simon Guerrier

'A mission to steal data from the planet Mogul goes badly wrong when Cally and Avon are outflanked and outgunned. And then they are teleported to safety – to an alien spaceship stolen from The System, which is crewed by Gilden Trent and his small team of rebels.

For Avon it’s the opportunity to start over again without Blake.

But can Trent be trusted?'

Chronological Placement:

Set during Series B between the episodes Countdown and Voice From the Past.

Magnificent. Defined in the dictionary as 'impressive, deserving of admiration, especially due to an unusual quality involving size'.

The word is often used when describing something vast in size and scope, but magnificence can also be attributed to the quality of something that involves a small group. A prime example would be the title characters of the classic Western The Magnificent Seven. Even the accomplishments made by the John Wick character could be described as magnificent despite them being done by one man.

Magnificent is an apt word to describe the impressive storytelling quality that Guerrier has pulled off with this Cally focused story.

Cally, as played by the exquisite Jan Chappell, was always one of my favorites from the original cast. She was someone that wasn't a hardened cynic like Avon (who provides much needed support for Cally in this story), nor was she cowardly like Vila. She was someone that genuinely believed in doing the right thing and saw fighting against the oppressive tyranny of the Federation to be a very serious responsibility.

I was also always fascinated by her stance as someone that, for all intents and purposes, was the alien of the group (due to her coming from a race of telepaths). I have my own thoughts and theories about the Auronar, but that can wait for another day. Despite having powers of the mind, I always felt that Cally was very much the heart of the team.

I love that this story has Cally and Avon meeting up with a group like Blake's, on a ship like the Liberator, only to learn that they are little more than highly skilled pirates.

I love that the events of the Series B episode 'Redemption' are brought up and how the crew of the Libertine are a result of the aftermath of the events from that story.

I love how the story showcases in the crew of the Libertine a distorted reflection (and perhaps a retroactive premonition) of what would happen to the crew of the Liberator should they lose their way by abandoning their morals and scruples and just give in to blind self interest... Which for the most part is exactly what started to happen during Series C and ultimately came to fruition in Series D.

A minor nitpick, but I always thought the planet Cally came from was called Auron and her people were called the Auronar. And yet in this story and others, they refer to her as being an Auron. Is it a case where one singular person is an Auron but the collective term for the species as a whole is Auronar? It is a minor thing, I know, but still something that stuck out.

Something else that is a bit of a minor flaw is that at one point in the story the voiceover narration switches from Cally to Avon. There is a specific reason why this happens in the narrative, but it still comes about rather unexpectedly.

Given the stories in these chronicles are events being recounted AFTER the fact, there is the inevitable problem of how to create tension and intrigue with life threatening peril for the characters when most fans know the show backwards and are fully aware of what the inevitable fates for many of the characters are.

Luckily for Guerrier and many other writers, they do create moments that make you wonder how such and such will be able to survive whatever life threatening peril is thrown at them, and manage to cleverly pay off how they survive without falling into 'Oh Come The Fuck On' Territory.

8 out of 10 Plasma Bolts

Anyway, this story is very well done and is the first of many plots that involve coming across potential allies for the Resistance movement, only to learn the would be allies are often a lot worse than their enemies in the Federation. Definitely give it a listen.

False Positive by Eddie Robson

'Dr. Lian has a mysterious new patient – a man who was found shot in the leg near Engel City, a man who is delirious and talking about the most extraordinary acts of rebellion.

She prescribes drugs and the use of the alleviator – a device that will dig deep into his memories – to unlock the truth about Carlin Guzan.

But the truth that she exposes is far more shocking than she bargained for...'

Chronological Placement:

Set during Series B after LC Vol. 10's Retribution, between the episodes Horizon and Pressure Point.

This story is definitely a step up in quality from volume 1's 'Counterfeit' and is an excellent Blake-centric story. The framing device for the recollection of the events is actually quite clever as it ties in with the adventure itself in a very naturalistic manner.

The dialogue scenes between Blake and Dr. Liam are excellent. Kudos to Beth Chalmers for giving the character of Dr. Liam the right balance of professional intrigue and personal curiosity as she learns more and more about her 'patient'. But this story belongs to the late Gareth Thomas through and through and it is great to hear him be afforded better material than during his first go round back in 'Counterfeit'.

I always rather liked Blake from the start, and a large part of that is down to the performance of the late Gareth Thomas. The character of Roj Blake was a passionate idealist fighting for a noble cause, someone who could be diplomatic but understood the need for action rather than simple civil disobedience. As someone that broke free from an oppressive government, he immediately gains our sympathies... even if his passions occasionally bordered on overzealous fanaticism. This is largely due to what the Federation did to him personally by trying to rewrite his mind, killing his family and even destroying his public image by falsifying accusations of paedophilia.

Since the Federation enact the same tactics on countless others without any hesitation, morals or scruples, it is no wonder why Blake is so overwhelmingly passionate about wiping out the corruptive and cancerous tumor that is the Federation. Not only to avenge family, but to ensure that people are given the freedom to choose for themselves and not simply be coerced into following the rules through propaganda, torture, drugs or mind control.

Speaking of drugs and mind control, that goes to the heart of the plot: Blake going undercover at a Federation research facility that is conducting a clinical drug trial for the development of a new pacifying sedative, which the Federation hopes to employ in order to ensure total compliance and obedience to Federation doctrine.

Ironically enough, that is exactly what would come to pass towards the tail end of Series D... But we already know that, don't we?

7 out of 10 Plasma Bolts

All things considered, it is a pretty good story. This story, like a few others in the Liberator Chronicles range, could work as a two-hander stage play with a couple of tweaks. It also could easily have worked on TV or even as a full cast audio. Give it a listen.

Wolf by Nigel Fairs

“I heard his death cry. I felt it. And there was a word. ‘Wolf’. You, Servalan. You were the “Wolf”. You killed him. I want to know why.”

'Some time ago, Blake and his crew were helped by a revered Auron scientist named Gustav Nyrron. He stayed aboard the Liberator for a time and then disappeared.

Cally wants to know what happened to Nyrron, and only Servalan knows the answers.'

Chronological Placement:

Set during Series B between the episodes Pressure Point and Trial.

This is a very intriguing Servalan focused story, featuring Cally and a return appearance by Gustav Nyrron from Volume 1's 'Solitary'.

They say that a protagonist is only as good as the antagonist created to provide drama/conflict. This is especially true when the character of Supreme Commander Servalan (along with the equally excellent Space Commander Travis) was introduced as the Liberator crew's primary antagonist in the Series A episode 'Seek-Locate-Destroy'.

A large part of why the Servalan character has left such a lasting impression on the minds of fans had to do with the casting of the late Jacqueline Pearce, and the way she played the role. Her grace, charm, beauty and seductive allure went hand in hand with a ruthless ambitious edge along with a keen strategic mind.

In many ways, Servalan, as played by Jacqueline Pearce, reminded me of Alexis Colby as played by Joan Collins. Although Servalan was a bit more reserved than Alexis.

As such, it makes perfect sense that the Liberator Chronicles would provide ample opportunities to explore the villains as well as the heroes. This story does well to explore Servalan's character along with her thoughts, beliefs and how she carries herself as she recounts events. The recollection is pretty interesting cuz it comes about in multiple ways.

We learn a little bit about Servalan's childhood in reference to a game she used to play with others. Its interesting how this story, along with the upcoming 'Kerr', 'President' and 'Three', provides more insight into the character than the show ever did. The aforementioned upcoming stories do provide some great insight into why Servalan is the way she is... But let's not get ahead of ourselves.

I love the scenes between Servalan and Cally, as I do not recall the two of them having much screentime during the series proper... If ever. But I could be wrong.

This story has some great twists and turns as it deals with exploring how Servalan used Nyrron as her personal plaything in her efforts to lure the Liberator into her clutches.

Although Nyrron will be featured again in the story 'Brother' off of Volume 11 (which I will talk about eventually), I think this is the story that features him the best. We learn the most about him as a character, and much kudos to Anthony Howell for bringing much pathos and nuance to the Auron scientist.

The story also lends itself quite well to philosophical debates regarding how each side views the other. Naturally, Blake's crew view Servalan and the Federation as an evil and oppressive tyranny, while Servalan and those within the Administration view Blake and his ilk as little more than terrorists wanting to bring down the only force for law and order in the galaxy.

It is that clash of ideals and personal morals that will be explored to great effect in future volumes as well as in the full cast audios.

9 out of 10 Plasma Bolts

Final score for Liberator Chronicles Vol. 2 in its entirety is 8 out of 10 Plasma Bolts. It is a profound step up in quality compared to Volume 1, and it demonstrates that things can only go up from here in terms of character exploration and engaging plots.

Special credit to Craig Brawley of the Big Finish Listeners Facebook Group for his tireless efforts in mapping out the chronology of the audios and determining his they fit in with the established TV continuity.