Reviewed By: thisoldcan
Review Date: 2/11/19 2:26 pm
1 out of 1 found this review helpful.
In Funeral on Kalion, the opening story of the second Crossfire set, Thern Sorron, the ruler of Kalion, supplier of ships to the Federation, is dead. His death leaves a power vacuum that several parties are seeking to fill, for whoever controls Kalion controls it’s powerful shipyards. Kerr Avon (Paul Darrow) leads a daring heist to steal the Seal of Kalion, while Servalan (Jacqueline Pearce) and the former President (Hugh Fraser) tangle with one another and Maldor (Trevor Littledale), seeking to control the Kalion shipyards. Funeral on Kalion is a decidedly average story from frequent Blake’s 7 writer, Trevor Baxendale. The story is marked by its strong cast, most notably Paul Darrow, Michael Keating, and Trevor Littledale. Darrow and Keating are both strong, and share a surprising chemistry throughout the story; I found myself most enamored with Keating’s Vila throughout the story, as he injected a bit more energy than usual into his performance. Trevor Littledale has a wonderful guest spot as Maldor, the man tasked with presiding over Thern Sorron’s funeral and the choice of his successor. Littledale has a great monologue early in the story where he gets to show off his fantastic acting chops, and he shares a strong, slightly comedic chemistry with Jacqueline Pearce and Hugh Fraser throughout the story. Trevor Baxendale is given the task of writing the opening story of the second set, and comes up with an interesting heist-style story that can’t quite stick the landing. I quite liked the constant struggle for power and the way that Baxendale pulled the rug out from underneath Servalan, the former President, and Avon, but the story was painfully predictable, and it suffered due to its lack of meaningful interactions between the two main groups. Overall, Funeral on Kalion starts off Crossfire, Part 2, not with a bang, but with a shrug. The acting is strong throughout, especially Michael Keating and Trevor Littledale, but the writing, while promising and enjoyable in its rompiness, fails to do something unexpected, and suffers by not having the main characters interact with one another. A heist-style story should’ve been a winning story for Blake’s 7, despite the fact that there was only one possible outcome of it; but instead, the story is a bit of a boring, predictable affair, with strong acting, but little else to support it.