It’s the end of another Big Finish trilogy. Before pressing play, ‘An Alien Werewolf in London‘ sets its expectations rather high. Grabbing the eye straight away is the incredible Tom Webster cover. It’s dark and moody emitting a ‘Blade Runner‘ vibe, despite being set in the 1990’s. Then there’s the playful title, ‘An Alien Werewolf in London‘. A play on the classic 80’s horror movie ‘An American Werewolf in London‘ and a “cultural reference”. Before the story even begins you just know this has to be fun. And fun we shall have.
Writer Alan Barnes is an icon within the world of Big Finish, not least because of his role as Script Editor. Certain writers constantly deliver great material and have earned their fans. Barnes is easily amongst that echelon and does he ever deliver a whopper!
‘An Alien Werewolf in London‘ is as much fun as it sounds. Part one of the story is easily 30 of my favourite Big Finish minutes. It flows so smoothly. It’s funny, interesting and the music and sound design are phenomenal. By the end of Part One the music had me marching in step with the pulsing bass beat. I was beaming from ear to ear and feeling as if I had rediscovered Doctor Who in a whole new way.
Do you hear what I hear?
Big Finish audios always create vivid images in my imagination but Part One felt like a Robert Rodriguez film. It was funny, threatening and exciting. Composer and sound designer Joe Meiners deserves a better analogy than “he knocked it out of the park”, but he did, at minimum, that. Sound design on an audio can have the equivalent effect of visual special effects in film/TV. It can help make the story more immersive or take the listener out of the adventure. Thankfully Big Finish have a superb line up of audio engineers who never disappoint and in this case Meiners just elevated that script even higher.
‘An Alien Werewolf in London‘ is full of surprises, twists and turns. The “About” section on the website doesn’t mention one of the key elements and so neither shall I. There is a lot of exposition, which can be a drag, but two things save it from being a bore. 1) The twists are plentiful and enjoyable. It all builds upon itself becoming almost humorous. 2) Barnes calls himself out on it at some point with the Doctor telling everyone to be quiet while he exposits.
Director Samuel Clemens has brought out the best from his casts and crews through this trilogy. He’s pulled in some fresh voices which can only be a good thing. This month the standout discovery would be Jacob Collins-Levy who plays Rufus. Collins-Levy does a outstanding job of making Rufus likeable and detestable. A difficult thing to layer in a story like this.
Big Finish gave us a great new TARDIS team in the Doctor and Mags. The story didn’t conclude how I anticipated and that was a most welcomed surprise. Despite a lot of exposition and origin stories it was a speedy couple hours that were most enjoyable with some of the best music to hit the Monthly Adventures range. Oh, and we have Ace reunited with Mags! The humour is high, the tension is tight and the Doctor delivers. Not every release can be as good as this but overall this trilogy is terrific from start to finish!
- Sylvester McCoy (The Doctor)
- Sophie Aldred (Ace)
- Jessica Martin (Mags)
- Shiloh Coke (Janet / Sin Eater)
- Jacob Collins Levy (Rufus / Voice of Head Office)
- Rex Duis (Vinewood / Lex)
- Lara Lemon (Rohesia / Jinty)
- Gideon Turner (Raymond / Greg)
A space-time summons brings the TARDIS to the strangest place Mags has yet visited. A haven for the freakiest freaks and the weirdest weirdoes: Camden Lock, London, in the early 1990s.
But there’s a reason why former TARDIS traveller Ace has brought the old gang back together. She’s on a mission to rescue an alien being, held prisoner in a massive mansion…
A mission that can’t possibly go wrong. Can it?