When I was growing up, Space: 1999 was one of the big SF shows. Although I never watched it religiously in the way I followed Doctor Who, nevertheless I had a Dinky die-cast Eagle toy, several annuals and I thought the uniforms looked really cool, especially the colourful jackets they wore in the second season. As a show it was always present in the background, in Look-In magazine, old issues of Starburst and Starlog, and in many of the other SF publications which filled the shops in the wake of Star Wars. Then for a while it seemed to lose its lustre with the fan community, at least in Britain. It became regarded as dull, or camp in the wrong way, an example of how television didn’t ‘get’ SF. But quality will out and in the wake of two serious-minded serial shows of the 90’s both set in one location: Babylon 5 and Deep Space Nine, ITC’s space opera was rediscovered and reappraised. Older fans even detected a story arc to Year One, a suggestion that the Moon’s journey was being controlled by some kind of cosmic higher power, that the Alphans were being prepared for a new destiny on another Earth.
I actually felt that Space: 1999 would already be well covered by podcasts so I avoided it at first. However I am glad I changed my mind because this twentieth episode of the podcast is proving to be one of the most popular episodes so far. Having good contributors helps, and I was delighted to have my friends and talented writers Kara Dennison and Ian Taylor along for the ride. Their contributions are fascinating and amusing.
You can listen to the episode now on Spotify and the other major podcast platforms, including Youtube. Hope you enjoy it and I intend to pick up the frequency of episodes for the remainder of the year. Coming next will be The Comic Strip Presents.
Hello there! It’s another quick round up of news from myself and friends this time.
After Hangmen was an enormous success for Bolton Little Theatre and myself personally getting some of the best notices I’ve ever had for playing Syd Ambleside, I have gone back into the control box for the next play of the season – Player’s Angels by Amanda Whittington.
In 1950’s Nottingham, John Player’s girls have the best jobs, the best wage and the best hairdos in town. And now, there’s a new face on the Navy Cut machine as 15-year-old Mae comes fresh from the country for her first job at the tobacco factory. Mae lodges with her Aunt Glad who sits alongside her on the production line but keeps her assignations with the young factory foreman to herself. Led by workmates Cyn and Vee, Mae takes her first steps into the world of the Player’s Angels: where a young girl can lose her halo and find her wings.
Running 22nd – 27th April, it’s a warm-hearted play about a group of friends supporting each other and facing a changing Britain, as the coronation of Queen Elizabeth II ushers in a new age. You can book tickets now from Ticketsource.
Rik Hoskin and Chatri Art have been busy with a project of their own, a graphic novel called The Vampire Invasion. Set in 1969, their wild story imagines an alternative history where Neil Armstrong and Buzz Aldrin’s landing on the Moon triggers a retaliation from a colony of Nosferatu-like vampires who have been living on the dark side for centuries. It’s a very entertaining romp that recalls the best of Warren’s 70’s Creepy and Eerie horror comics. Renaissance man Chatri Art composed the theme for my podcast and his dazzling artwork has been featured in games and album art. He came up with the initial concept for this book when he was a teenager.
Rik also has a short story out this month in HyphenPunk magazine. The President’s Been Shot is a satirical cyber-punk with his trademark ingenuity. You can order it from Amazon Kindle or a PDF version from Ko-Fi.
Finally, my cousin Terrance McAdams has the second volume of his YA science fiction series out now. Biocode: Resolution finds Ciara and her friends discovering new twists to the mystery of a race of telepathic aliens who want to take over the Earth. Ciara has been seeing visions of her ancestor William on Captain Cook’s second voyage, but now she must travel into the past to save him and the future. Available now from all good bookshops.
In 1965 the death penalty, and hanging in particular, effectively ended in the United Kingdom. So what is Harry Wade, Britain’s last hangman to do? Especially when he is widely regarded as the country’s second-best executioner, after Albert Pierpoint? So begins, Martin McDonagh’s celebrated black comedy Hangmen, which is being staged by Bolton Little Theatre on 4th to 9th March 2024. Set in Harry’s grim pub in Oldham, where he holds court over a group of tatty regulars and his long-suffering wife and teenage daughter, the play opens with a young reporter seeking an interview with the hangman. Harry’s equilibrium is disturbed by the arrival of Mooney, a peculiar young cockney man. His unease increases when his despised old assistant Syd comes calling the next day, warning him about a strange visit he has recently had by a young man who knows a lot about their controversial execution of Hennessey a couple of years ago.
I am playing the part of Syd, Harry old assistant, and part-time pornographer. It’s a brilliantly written part and enjoying rehearsals a lot, not having played a major role on stage for a while. It is fun finding his accent, that variety of camp Northern nasal sound usually used by comedians like Alan Carr, but with more unhappiness and desperation.
Hangmen premiered in 2015 and went on to become a West End and Broadway hit. It has won several major awards and the original production has been broadcast by National Theatre. Its writer Martin McDonagh is probably best known for his black comedy films In Bruges and Three Billboards Outside Epping, Missouri. Hangmen is a superbly written play, funny and frightening in equal measure. I hope we get a healthy audience for it.
Ciara, a teenage girl, discovers she has a remarkable inheritance in her DNA, one that propels her into a globe-trotting adventure which involves biotechnology, an enigmatic Maori legend, and the famous voyages of eighteenth century explorer Captain James Cook. Before this entertaining novel is finished, the future of the human race will be in the hands of her and her small group of friends.
This is the debut novel of Terrance McAdams, and I should say upfront that he’s also my cousin. He has written this exciting Young Adult novel, the first in a series, Biocode: Endeavour and he has done an impressive job of mixing real history, recent scientific developments in human physiology, and his own foreign travel experiences into this science fiction adventure.
True, at first I was a little concerned that the book was following the weary trope of the ‘chosen one’ protagonist, for whom all obstacles are solved by their destined specialness, which make others bend rules and give her advantages. Ciara is boarding at the private Sanjung Academy in South Korea, set up by tech billionaire Dr Sanjung Kim next to the government’s Global Education City. It is a kind of super-science Hogwarts. Naturally this means she is surrounded by the best and brightest, whose talents in martial arts, computer hacking, science, and international contacts will come useful later. She’s being troubled by intense dreams, mostly ones where she is Midshipman William Hartley, aboard First Lieutenant James Cook’s ship HMS Endeavour as it discovers New Zealand. She also learns that the real reason she was invited to the academy is that there is alien DNA in her genes. Her dreams and an invitation to an archaeological dig organised by Dr Kim leads Ciara to learn about a race of beautiful blonde people called the Patupaiarehe who had supernatural powers. The truth turns out to be stranger.
Frustratingly for this review I cannot talk much about my favourite element of this story without spoiling it for other readers. Suffice to say that the initial ‘hero with a destiny’ plotline which takes up the first half of the narrative becomes subverted and a very different and a better story emerges.
The author is a teacher who currently lives in South Korea and that local knowledge certainly comes through in the way he conjures up both that country’s culture and describes the environs of New Zealand. He also has a good ear for teenage dialogue and the scenes and relationships between this set of smart, pro-active young heroes rings true without going into tiresome quip-heavy sub-Buffy material. He has a particular interest in encouraging more girls into science, so its not surprise that most of the group are female and generally are the drivers of the story, but they still feel realistic rather than superheroes.
When the true nature of the antagonists does emerge they are excellently depicted and for a while I was wondering how such a powerful enemy could realistically be defeated. There’s plenty of incidents along the way, including a shark attack, kidnappings, battles with Maoris and a even James Bond style mountain base to be infiltrated.
I think Terrance McAdams’ writing will only become richer in future instalments. He’s created an engaging set of leading young characters and brought something fresh to the YA scene with this combination of cutting edge science and traditional adventuring. Although the start of a series, this is perfectly self-contained novel and I can recommend to readers of all ages.
Just in time for Christmas, I’ve released a brand new episode of the Very British Futures podcast, with a seasonal flavour. There aren’t many British TV science fiction programmes that actually feature Christmas, apart from 21st century Doctor Who, but one welcome exception is the works of Gerry Anderson. Most of his puppet shows feature the Christmas holiday and for this special we took a look at Stingray and “A Christmas to Remember”.
Stingray is an odd fish. Although clearly a children’s show, it nevertheless features a largely adult cast of characters who have foibles, who socialise with alcoholic drinks and cigars, and have mature concerns beyond simply defeating the bad guy of the week. Most famously there is the romantic triangle between Troy Tempest, underwater-breathing glamourpuss Marina, and attractive Atlanta Shore, who works at Marineville most of the time. The stories were straightforward, but there was space for humour, and even a touch of satire. Meanwhile the excellent craftsmanship of the AIP team, created one of the glossiest junior shows on television, with memorable images like Stingray erupting from its undersea silo, or Marineville descending underground.
I was keen to get a younger viewer’s opinion for this episode, so invited John and his thirteen year old daughter Amber to be my guests for this mini-episode. It’s a slightly unusual episode as a result, but I hope listener’s enjoy the seasonal flavour and if it’s a success I’ll do another one next year.
YouTube version of the podcast
You can listen to Very British Futures on your favourite podcast app or at the official website
Plenty going on this month but the biggest news for this blog is that there is finally a new episode of my podcast Very British Futures out there – The Day After Tomorrow.
Nothing to do with the dreadful 2004 Roland Emmreich film but everything to do with Gerry Anderson’s continuing efforts to conquer America. UFO had come close but after a strong start in the ratings it had faltered. Space 1999 was doing reasonably well in syndication but the question of a second season was still up in the air. Then Gerry Anderson was approached by George Heinemann, producer of NBC’s new youth orientated anthology strand Special Treat. Special Treat was a series of documentaries and educational family dramas, and Heinemann was looking for a way to dramatise Albert Einstein’s famous theories for children. The result was the 50 minute special The Day After Tomorrow. Hoping it might act as a backdoor pilot for a TV series, Anderson and writer Johnny Byrne (Space 1999, Doctor Who) added the subtitle Into Infinity.
It’s an entertaining family SF adventure and something of an unintended callback to the pioneering Pathfinders in Space series with its young protagonists and parents and the emphasis on science and engineering. The short running time means it moves at a fair clip, and it enjoys the same high-quality production values as Space 1999. For this podcast I tried to reach out beyond my usual circle and recruited Felicia Baxter from the podcast guest site matchmaker.fm Felicia turned out to be a wonderful guest and her fresh perspective and presence make this an excellent episode. It’s also the first of what I intend to be an extra format for the podcast. As well as the traditional discussions with a group of guests, I’d like to more conversational two handers like this, looking at more targeted subjects and shorter form TV plays.
My friend Rik Hoskin has had a good month too. His comic strip adaptation of the second book in The Wheel of Time saga is out now and there’s a new trailer online.
Dynamite Comic’s The Great Hunt, written by Rik Hoskin
In addition he has published a marvellous creepy short story by a scuba diving holiday that takes a strange twist in The Dive, published by Cornice. You can enjoy for free and I recommend you give it a read.
I was shocked, along with the whole North West amateur theatre scene, by the sudden death of Sandra Leatherbarrow on Friday 13th October 2023. Not only because she was a good friend of many years, but because I am currently working in her last production, Blue Stockings at Bolton Little Theatre. I had only been speaking to her on Thursday night, little knowing that under two hours later I would be watching paramedics hurrying in, after she suffered a stroke. I still have emails in my inbox from her, about the play and providing technical help to the Little Theatre Guild conference she was simultaneously organising.
Sandra was always filled with energy from the first time I met her at the theatre. She loved directing and acting, and was always prepared to assist with the less glamorous side of the theatre too, regularly serving as house manager for other productions, and being a long time member of the committee. She cast me in a dual role of medical officer and private in My Boy Jack, one of the plays I am proudest of from my career. She kindly took on the role of Samuel Crompton’s mother in a short play I directed at Hall’ith Wood called A Fine Spinner. I provided sound cues for many of her productions.
I wish I had a hilarious anecdote to share but right now my memories are of a bundle of energy, occasionally exasperating, certainly eccentric but in a productive way that raised up everyone around her. Not just at Bolton Little Theatre, over her life she was involved in several companies, not to mention being a keen golfer. I’m sure I’m going to find out even more over the next few weeks about all her achievements. She supported so many people. In my case I know that each year she lobbied for one of my pantomime scripts to be produced, which I appreciated even though it has not happened yet.
Sad as it is that Blue Stockings will now be a tribute to her, rather than simply her latest production, it is an excellent choice by fate. It’s cast includes old friends and young actors who had only just met her, everyone grateful for the opportunity to work with her and who have been inspired. It’s a play about remarkable women who helped leave the world a better place. Exactly what Sandra did.
I’ve been improv acting as a simulated patient over the last few years, and the odd voiceover, but between October 21st and 28th I’m heading back to the stage as an actor in Blue Stockings, by Jessica Swale. The play is on at Bolton Little Theatre. This one of several productions of Jessica Swale’s popular debut play being staged nationwide that week.
1896. At Girton Colllege, female students are welcomed to study at the University of Cambridge for the first time. The Girton girls study ferociously and many match their male peers grade for grade. Yet, whilst the men graduate, the women leave with nothing but the stigma of being a ‘blue stocking’ – an unnatural, educated woman. The play follows them over one tumultuous academic year, in their fight to change the future of education. There is laughter, thwarted romance and bravery from both the women and their few male supporters. Whilst in the background is the suffragette movement, which ironically might do as much to damage their cause as support it.
I play Radleigh, one of Cambridge dons who is against encouraging women to study degrees, viewing it as youthful indiscretion which will destroy their future prospects of marriage and respectability. It is a fairly small part, appearing in two scenes but I must admit I was struggling to memorise my lines after leaving that part of my brain unexercised for years. But they are in there now and I hope my performance gets richer now with each rehearsal. This is all useful practice for a much larger role I’ll be taking on next year in Hangmen by Mike Bartlett.
I posted recently that Rik Hoskin had recently written the comic strip adaptation of Book Two of The Wheel of Time – The Great Hunt. He has recently had a couple more interviews published, where he talks about Robert Jordan’s writing and the experience of adapting such a famous, influential fantasy world.
Sixteen years since the last straight to DVD revival, twenty-five years since the original television series gave its last bow, Babylon 5 returns polished up as an animated special The Road Home. Is it the beginning of a new era, or a nostalgic curio for the die-hards?
Time has been kind to Babylon 5. It was never a series which relied on the quality of its effects and a movie quality production. It’s strengths was its unashamed respect of literary SF and the power of a good story well told. Matched with rich characterisation that allowed its flawed protagonists to both fail hard and triumph satisfyingly over the years, spending most of the intervening time in stories that were often imaginative and morally grey. After years of only being accessible on VHS and DVD, recent years have seen it return to wide syndication, availability on streaming services and after a long campaign by fans, a HD remastering, all of which has enabled it to be enjoyed by new generations of fans, some of whom were not even born when its final story Sleeping in Light went out on TNT.
Babylon 5 was influential in several ways. It was one of the first SF series to embrace CGI, using the groundbreaking NewTek Video Toaster, which made computer graphics feasible on a cable television budget. It popularised the concept of the story arc. Instead of self-contained, almost interchangeable episodes where the status quo would always be reset after an hour, creator and chief writer J Michael Straczynski (known as JMS to fans) planned a “novel for television” to be told over five seasons. The idea was mocked as vainglorious by many, yet the programme proved that there was an audience who would commit to the journey. Now it would be hard to find a TV series which doesn’t have ongoing threads. Finally there was the way JMS embraced the fledgling internet, specifically Usenet to communicate directly with watchers in a way that hadn’t been possible before. He gave us an insight into the writing and production process of an ongoing, often struggling TV series that was fascinating and educational, as well as building up a whole community around the show.
It’s that ongoing community and the recent revived interest which has allowed The Road Home to exist. That and apparently a new willingness at Warner Bros to exploit a franchise which it was previously content to sit on.
The plot of The Road Home taps into Hollywood’s current love of multiverses and alternative worlds. On his first official engagement off-station, President John Sheridan becomes unstuck in time as the result of a malfunction in the new tachyon-based power generator he is supposed to be inaugurating. Teleporting into the future and the past, he then finds himself travelling sideways in alternate versions of the Shadow War, where the Shadows or the Vorlons win, both with cataclysmic results for humanity and its allies. Worse, if he cannot jaunt home, the multiverse itself might collapse.
Rather like a wedding, how much the viewer gets out The Road Home depends a lot on how many faces you recognise. If the above synopsis seems confusing, then this animated movie will be a lot of sound and fury, signifying not much. As an introduction to Babylon 5, it’s too reliant on pre-knowledge for the vast majority. Yet thanks to JMS’ script and the obvious affection of the production team, at the same time it’s a film that contains everything that made Babylon 5 what it was, good and bad. Action and big SF concepts like quantum physics, nestle with pulp staples like ancient alien cities being discovered, powerful aliens being reawakened, and passionate declarations of undying love. Smart jokes like a galactic vista being interrupted by a search of socks, share time with clunky one-liners. B5 could be moving but it could be amusingly pretentious too and there’s some windy philosophy at “the Rim” of the universe, delivered with deathly, if mellifluous, tones, which could have come straight from an obscure prog rock album sleeve notes.
Tragically, the series has lost more than the usual percentage of cast members. The voice cast contains all the surviving regulars, led energetically by Bruce Boxleitner returning to the role of John Sheridan. It’s great to hear Patricia Tallman, Peter Jurasik, Claudia Christian, Bill Mumy and Tracy Scroggins in character once more. They are joined by a cast of creditable actors taking on other beloved characters and thanks to good casting and direction from casting director Liz Carroll and Matt Peters respectively, none of them jar in the ear. Sadly the episodic nature of the story means that few of the regulars get much time to shine, apart from Sheridan and Delenn, but there’s a lot of fun to be had with the return of fan favourite, the gnomic alien Zathras and most of the funniest moments belong to him.
Visually the film looks marvellous, enjoyably opening out and subtly updating the old locations on the space station and Epsilon 3. It has that recognisable Warner Bros look that’s been seen in many of their recent superhero cartoon movies, tall figures with great cheekbones. Just about everyone is instantly recognisable, although it took me a few moments to recognise Elizabeth Lochley. The production team cleverly incorporate several iconic visual scenes from the series, such as the launching of the Starfurys or the reveal of The Great Machine.
I’m reviewing the bluray release, which comes in a slipcase and has two extras, an enthusiastic commentary by Boxleitner, JMS and supervising producer Rick Morales, and an appreciative making of documentary B5 Forever with some interesting behind footage of the cast recording their parts.
During the documentary, JMS says he has ideas for future animated stories and I certainly hope this special is successful enough for more. As a victory lap and a celebration for long time fans, The Road Home is a treat that doesn’t disappoint. For newcomers, the pilot film The Gathering or the TV movie In the Beginning is still the place to start.
I had the great pleasure recently of joining my friends Rebecca, John and Dani to record an edition of their podcast I Don’t Do Sci-Fi. This time, Dani was being exposed to Nigel Kneale’s 1972 BBC Christmas Day ghost story – The Stone Tape. It is a pioneering blend of science fiction, horror, and psychological drama that has left a lasting impact on viewers and critics alike.
The story revolves around a team of scientists and technicians from Ryan Electronics who move into an old Victorian mansion called Taskerlands, which has been converted into a research facility. Their objective is to develop a new disruptive technology that surpasses anything in the existing market. However, they soon discover that Taskerlands has a dark history and an eerie presence lurking within its walls.
In a room said to be haunted, Jill, the lead computer programmer sees the ghost of a terrified Victorian maid. Soon, everyone bar one young man can hear her screams.
The team conjecture that they have uncovered a phenomenon nicknamed the “stone tape theory,” a concept suggesting that buildings can absorb and replay the energy of past events, essentially becoming a recording of the past. This notion serves as the central theme of the play, blending elements of the supernatural with scientific exploration. When the experts try to understand the process better, hoping to turn it into the next generation of consumer technology, they learn it has psychological effects too. Whilst Jill begins to fear that there may be deeper layers to the stone recording, but containing what?
It stars Jane Asher, Michael Bryant, Iain Cutherbertson and Michael Bates, and was directed by Peter Sasdy. I’d last seen it on the big screen in 2022 as part of the excellent Nigel Kneale Centenary celebration in London, organised by Jon Dear and introduced by Ms Asher herself.
Whilst I’m on the plugging trail, let me also mention that I am currently working on the sounds for the next Bolton Little Theatre production – The Ladykillers – which is running from 26th June and 1st July. It’ll be a funny night and you can find out more here.
The Phantom Frame 