Radio Plays, 2025
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Harry Turnbull's Reviews
Summer 2025
The Barber of Molville
A Big Fish Radio Production
I first encountered the idea that dementia could be approached with lightness and humor in Wendy Mitchell’s writing, as she chronicled her own journey through this cruel condition in two remarkable books. Yet reading about it is one thing—experiencing it, even briefly, is another. Last year, I became convinced I had dementia and even began researching assisted living arrangements. Thankfully, it turned out to be a side effect of medication for a nerve condition—one I’ve since overcome—but the episode left me with a visceral understanding of the terror that such a diagnosis carries.
This thought-provoking two-hander tackles the subject with a deft, lighthearted touch. Kitty, the central character, must be reminded that she once agreed to be taken to Switzerland for euthanasia. Herein lies the cruel paradox of dementia: Can a decision made in sound mind truly stand when the person later insists—despite all evidence—that nothing is wrong with them?
It’s a dilemma unlikely to be resolved in this country anytime soon, given certain politicians’ obsession with clinging to others’ lives, no matter the suffering involved.
Fever
Featuring Cate Blanchett
Have you ever read one of those books that flow like water ripples without end, marching on in slow prose seemingly forever, never resting for breath, much like a monologue with few pauses, traveling a stream of consciousness pathway full of words, observations, philosophies, but not, you notice, with full stops, a Joycean technique embraced by a few contemporaries who naturally catch the critics' eye and receive rapturous symbolic applause, persuading many of its brilliance, a brilliance I must confess that eluded me in this script despite the ardent critical approval when it first emerged; there is a certain hypnotic allure in the rhythm and cadence that enables Blanchett to deliver Wallace Shawn's words seamlessly, whether the message is delivered or not, and it was not to these ears, for he writes like a man who has just realised the glass of wine he is nursing in his uptown restaurant cost more than a factory worker’s weekly wage and this grim reminder of reality made the fragrant Gamay taste like sewer water as Blanchett’s voice remains a scalpel cutting through the delusion that art can always voice the frustration of the society conscious critic.
You get the drift.
It was apparently Cate Blanchett’s idea to deliver this seemingly endless refrain, which provoked no persuasion from me that it is some sort of riveting treatise on the fruitlessness of capitalism. But then again what do I know?
An Inspector Calls in Moscow
A Pier Production for Radio 4
I first scribbled about this theatrical and screen classic after seeing The Goodies' Graeme Garden breeze onstage as Inspector Goole at the Royal Exchange in Manchester. It led me to explore other works by J.B. Priestley’s as well as obtaining fellow Yorkshireman John Braine’s spirited biography. I was unaware that Inspector premiered in Moscow but referencing back to Braine shows it was mentioned, albeit on one line.
Priestley dashed off the play in a week and as leading figure amongst the post-War literati he assumed it would be grabbed by one of the London impresarios. It was not to be and ended up in the Soviet Union via JB’s Russian translator. The move caused a few twitches in Whitehall who told their man in Moscow to remind Priestley that there was a fragile alliance in place following the downfall of the Nazis.
Rory Kinnear plays JB and Nigel Anthony, the British ambassador attempting to negotiate the fine line between artistic expression and political expediency. JB had been broadcasting for the BBC until his left-wing leaning views were not appreciated by Churchill and he left the airways. Interestingly, the war hero P.M. was soon replaced by Clement Attlee and here in this production we have actor Richard Attlee, his grandson, making an appearance as a Priestley sympathiser. Archers listeners will instantly recognise his voice.
In Moscow the play made waves in the right way with audiences lapping up the story of how the capitalist system corrupts those who benefit from it.
Local Hero
A Bafflegab production for Radio 4
BBC Radio 4’s adaptation of Local Hero takes Bill Forsyth’s much-loved film and refits it with a modern, eco-conscious twist. But is it a thoughtful evolution, or just a convenient nod to contemporary political messaging?
American oil baron eschewing drill-baby-drill for windfarms, the aurora borealis and the mesmeric call of the Curlew? Well, it's an interesting idea but not explored enough to earn the title of a 'reimagining' of the 1983 movie. Ed Miliband would certainly lap it up though.
The original Local Hero follows MacIntyre, an American energy executive sent to Scotland to secure land for an oil refinery. But the quaint village of Ferness slowly wins him over, shifting his corporate mindset. The film ends on a wistful note, with Mac returning to his high-rise life, quietly longing for the place he left behind. The radio adaptation, however, takes a different turn: instead of corporate influence clashing with local traditions, the story pivots toward a utopian green vision. Felix Happer, the oil tycoon who is MacIntyre’s boss, suddenly abandons fossil fuels in favor of marine research and astronomy, creating an oddly convenient ‘happily ever after.’ But does this reimagining feel earned, or merely imposed?
The film’s strength lay in its subtle character shifts, letting Mac’s connection to Ferness grow organically. The radio version, however, places its environmental shift in the final moments, making it feel less like a natural evolution and more like a box ticked for contemporary relevance. Had sustainability been woven into the narrative from the outset—perhaps with Marina, the oceanographer, advocating more forcefully for it or Mac slowly seeing its potential—the ending might have carried more weight. At the end Marina’s presence appears to dissolve much like a mermaid disappearing beneath the waves.
Melophobia
A Sweet Talk production for Radio 4
Ah, a show about hearing impairment, music to my ears. Some of the issues raised in Paul Sirett’s true life story resonate with me as my daughter is deaf and her refusal to wear both Cochlear aids, for instance, is rather frustrating but I have long conceded that battleground. It appears to be a fashion statement.
Sirret was impacted with hearing loss following a road accident and here he plays himself as does Jenny Sealey, the director of the Graeae Theatre with whom he teamed up with for a production called Reasons To be Cheerful based on the music of Ian Drury and the Blockheads.
The aural disability causing music to sound distorted seems to be Sirett’s main frustration as a musician and was something he tried to hide from others for years. Much like the hearing aids he refused to wear for five years. But his journey also includes pause for self-reflection, finding time to consume some of the philosophies of Heidegger and Sartre. This leads him to strive for authenticity and that of course means being true to who he has become, not denying it.
And as Jenny Sealey says, wearing hearing aids is not a stigma but rather a way of telling the world you are listening......and ready to be heard.
Just The Three of Us
Featuring Michelle Keegan
There’s nothing inherently wrong with tackling contemporary issues like coercive control—but haven’t we heard this story before? The formula is familiar: a new man steps into the family, plays the perfect stepdad, then slowly isolates his partner and reveals darker, abusive tendencies. This production does throw in an interesting twist, but the broader arc feels well-trodden.
I’d be far more intrigued by a version where the manipulator isn’t "yet another lousy guy" (they’re ten a penny, after all). In fact, I know of a real-life situation—not a headline-grabbing case, just people I’m close to—where a woman wielded the same destructive influence, driving wedges while everyone looked the other way. Now that would feel fresher.
That said, the drama is a decent listen, bolstered by a strong cast. Michelle Keegan, the TV star, naturally draws focus, but Lorraine Ashbourne as the grandmother and Jason Done as the bad dad deliver equally compelling performances. Keegan’s character, upon realizing her partner’s true nature, turns to her mother—only to then blame her for past parenting failures. A messy, human reaction, and one of the play’s stronger moments.
@Turnbullissimo 25 Jul 25
Harry Turnbull's Reviews
The future of long form radio drama
The War With The Newts
A Reduced Listening Production for Radio 3
It must be an appropriate opportunity to ask whether extended works like this will have a home once Drama on 3 gets the chop.
The BBC’s decision raises urgent questions about the future of long-form radio drama. Once this cherished slot disappears, where will Shakespeare, Greek tragedies, experimental works, or modern 90-minute-plus plays find a home given the corporation’s relentless pivot toward younger audiences and bite-sized podcasting?
The official statement offered little reassurance. The BBC claims it is "looking at ways to increase the number of longer plays to maintain the range of creative opportunities within our audio drama offer." But if there were a coherent plan, why announce the closure first? Surely the sensible approach would be to establish a clear alternative before pulling the plug? This "announce first, figure it out later" approach smacks of autonomy and of ignoring the wishes of the audience.
We’ve heard the same vague platitudes before—about being "champions of audio"—but actions speak louder than words. And actions like this one suggest the opposite.
Let’s not forget the curious justification that "audience feedback" shows listeners favour classical music on Radio 3. Of course they do—it’s a classical music station. But that doesn’t negate the importance of having a space for extended dramatic works. Radio drama isn’t just a niche interest; it’s part of a rich cultural tradition that requires time, depth, and space to breathe—qualities that don’t fit neatly into the BBC’s current strategy.
What’s especially galling is the secrecy surrounding this decision. There was no meaningful engagement with audiences or the wider industry, just another drip-feed announcement that erodes trust and a claim that they have feedback. No doubt via one or other marketing agency. Long-form drama demands commitment, both from its creators and its listeners. The BBC’s inability to make that same commitment is not just disappointing; it’s a betrayal of its role as a public service broadcaster.
Turning to War With The Newts, this may well fit into the experimental category. Based on a work by Czech visionary Karel Capek, it imagines a world in which newts emerge as an industrial threat to mankind. Yes, I know it sounds nuts.
The story critiques human greed, exploitation, and self-destruction, a pre-cursor to Orwell's Animal Farm. In this modern adaptation by Ed Harris, updated techniques like poetic narration and news excerpts explore the story’s themes, though the fragmented style can be confusing without familiarity with the original novel. The work raises questions that resonate with modern capitalist society, including whether humanity itself is worth saving.
Purple Heart Warriors
A podcast by Catherine Bailey Productions for the BBC World Service
America's WWII narrative is often defined by two cataclysmic events involving Japan—Pearl Harbour, the catalyst for U.S. involvement, and the atomic bombings of Hiroshima and Nagasaki, which marked its devastating conclusion. Behind these events lies another story, this one involving Japanese-Americans and Hawaiians who fought for the United States.
It is a discordant tale of displacement, loyalty, and moral uncertainty, one that the BBC World Service seeks to illuminate in its dramatic reconstruction. This programme focuses on the men and women who, despite being viewed with suspicion by their adopted nation, took up arms against the land of their ancestry, earning both medals and a conflicted legacy.
What remains underexplored in this broadcast however, is the deeper psychological battle these soldiers must have faced: the tension between heart and mind, cultural identity and national duty. While the narrative references the 442nd Regimental Combat Team’s deployment to Europe, it skirts the emotional complexity of their exclusion from the Pacific theatre—a conflict that must have been painful for many.
The story is narrated by Will Sharpe with the lead character Ken Morioka played by Akie Kotaba and uses time travel to place him in his grandfather's army boots in 1943. An unusual device rather than, say, a more conventional storytelling method like finding a diary. From training camp the regiment travel to Europe for combat operations and over six episodes screenwriter Irish Yamashita uses this lens to follow Ken and his compatriots.
The backdrop is an understated soundscape with ambient music effects recalling the period as well as utilising sounds from Japanese theatre. Ultimately it succeeds in shedding light on a little-known yet significant slice of history. During service the immigrant cohort were awarded 4,000 Purple Hearts.
At the end there is a slice of propaganda as Ken is catapulted forward in time but not to 2024, it is 2029 and a wave of anti immigrant laws are in force reflecting I guess the problems the Japanese-Americans faced during and after the war.
For some reason, possibly BBC edicts, they insist on adding trigger warnings before each episode in case an aural story about war contains battle scenes.
Christmas Pudding by Nancy Mitford
An Allegra production for BBC Radio 4
Christmas Pudding is a frothy escapade of Bright Young Things between the wars of the 20th century. Unfortunately, this early effort by Mitford sounds more like a turkey than a tasty treat.
Best known for later successes like Love in a Cold Climate, Mitford herself admitted that she started writing just to fund her travels to the South of France. In Christmas Pudding, she is clearly still finding her voice. The novel focuses more on quirky characters and aristocratic settings than on plot, featuring figures like Paul Fotheringay (inspired by John Betjeman) and Annabel Fortescue, a former call girl turned commentator on love and marriage. While there are flashes of sharp satire, the humour feels thin, the tone overly frivolous, and the escapism fails to captivate.
Listening felt like trudging through a festive caper that promised brilliance but delivered little as BBC Classic Serial analyser John Yorke said as much in his introduction.
Although it wasn’t entirely amusing I did find a BBC summary of the broadcast that was actually laugh-out-loud.
“Christmas Pudding is a wonderful comedy of bad manners in which the carefully measured ingredients of disguised suitors, amorous rivalry, unsuitable liaisons and comic misunderstandings, are cooked into a delicious festive treat, topped like a generous spoonful of burning brandy and by the glowing brilliance of Mitford’s comic dialogue.”
Dare I suggest that A.I may have been utilised for this ludicrously over-the-top assessment?!
The Concierge
A BBC Audio Wales production
What happens when an ordinary former Whitehall adviser is pulled into the shadowy world of Russian oligarchs, Ukrainian refugees, and Westminster power plays? Welcome to The Concierge, a gripping three-part thriller where money, murder, and political intrigue collide. Written by Simon Scardifield and Andrew Day, this series thrusts Joe (Sean Delaney) into extraordinary circumstances that spiral out of control—with fatal consequences and a dramatic fall from a balcony. But who—or what—is The Concierge is a question that still puzzles me. That mystery lingers in this fast-paced drama drawing on London's tangled ties with Russian wealth and the ongoing conflict in Ukraine.
Finist The Bright Falcon
BBC Studios Audio production
Russia rears its head again. When Russian women left their homeland to marry ISIS fighters, many faced trial when they returned home. But as this docu-drama shows, even those retelling their stories can be in danger. Playwright Svetlana Petriychuk and director Zhenya Berkovich were sentenced to six years in a penal colony in 2024 for producing a play deemed by authorities to justify terrorism. Their case starkly illustrates the risks of artistic expression under a regime where Stalinism’s shadow lingers.
This radio adaptation draws on their award-winning Moscow play, which explores the motivations of women who left Russia, comparing Russian men—‘wet as tumbleweed’—to the valorized Islamic fighters. Titled after a Russian fairytale about a falcon transforming into a prince, the story delves into the yearning for something better and the price of those choices.
The drama resonates far beyond Russia. Imagine a play about the State injustices visited upon Shemima Begum that challenges official narratives—how far would our own government go to silence it? This powerful work forces us to question the limits of free speech and the courage of those who dare to push them.
Bright Day by JB Priestley
A Radio4 Extra Reprise
I’ve often wondered why this book never makes the top 100 novels of the 20th century but I guess I’m not in step with the cognoscenti. I assumed this was the beguiling BBC dramatisation by Diana Griffiths, one time partner of Priestley's fellow Yorkshireman Stan Barstow, but it turned out to be an earlier version from 1984.
This one is divided into six episodes rather than the two hour long episodes we associate with classic adaptations but obviously follows the same trajectory.
Gregory Dawson is a Hollywood screenwriter looking back on his youth in Bruddersford, a hybrid of two well known Yorkshire towns.
Whilst writing a script in a Cornish hotel he bumps into two figures from his past and from there unfurls a captivating story told in flashback about his associations with the Allington family.
Eric Pringle’s script and the sound effects vividly reflects the jollity and then-looming black clouds of pre Great War Britain.
@Turnbullissimo 25 Jan 25
