18. The Stones of Venice

Very melodramatic and silly. It's a pretty average story. The soundtrack is amazing though.

The Stones Of Venice is a curious beast. There's plenty to like here: it's got a rich, complex plot, interesting characters and a fabulous setting. And yet, for half its runtime, it potters about, not really saying anything of consequence. And, while the second half features some excellent apocalyptic build-up, it somehow still feels a bit hollow.

The idea of the Doctor and Charley arriving in Venice on the eve of judgement is a sound one, but the first half never really gets any moment. Writer Paul Magrs leaves it till the second half for build up that should have come in the second half. Certainly, the first half paints an excellent picture of Venice, but, if you've never been there, you'll be more interested in getting the plot going. And, sure, Magrs has crafted a fantastic plot. Each of the characters we meet tie into it in an interesting way, and they are fantastic. The acting is especially good in this one: the late Michael Sheard is fantastic, as is Nick Scovell and Mark Gatiss (doing his best Christopher Lee impression). Paul McGann and India Fisher have also formed a fantastic chemistry at this point, despite the fact this story was the first McGann story recorded for Big Finish.

Together with some impressive post-production from Andy Hardwick and Russell Stone, The Stones Of Venice has lots of promise, and plenty of imagination. It's just a pity some poor plotting decisions prevent this being the classic it could be.

There's a lot I like about this story. It has a wonderful atmosphere and loads of style, and it's quite unlike any previous story. But the plot is just bonkers, which makes it very difficult for me to invest in the story. It feels so much like a fairy tale that it just doesn't seem real. Venice in the 23rd century feels like its own entirely self-contained world, operating by its own rules. Those rules are never clearly established, let alone justified or explained. But apparently the topography of the city changes "at will" (at whose will?), there's a race of semi-aquatic Gondoliers, and they can give Charley a potion that allows her to successfully impersonate someone she knows nothing about.

On the other hand, it's creative, original, memorable, and the cast does fine work* with the material. But it's not really to my taste.

* On second thought, the cast is a bit of a mixed bag. Mark Gatiss is effective, but he's really just doing Hieronymous from "The Masque of Mandragora". Michael Sheard's performance is appropriately eccentric, but it's a pity this was his only role for Big Finish. Elaine Ives-Cameron, unfortunately, is as conspicuously overwrought as she was in "The Stones of Blood". Paul McGann is on top form, though.

This story reminds me of a cross between "The Aztecs" and "Vampires in Venice." Not really a bad thing but its not one that i'll be rushing to re-listen to, its pretty average in my opinion.