Liverpool Sound and Vision Rating 9/10

Cast: Mark Gatiss, Sanjeev Bhaskar, Sam Dale, Ean Bailey, Clare Corbett, Carl Prekopp, Ryan Early.

You would be forgiven for thinking that Arthur Conan Doyle’s seminal gothic tale, The Hound of The Baskervilles, could not be adapted in any shape or form more than what has gone before; you would be forgiven, but as with anything that has history nipping at its ankles, the reality is that as long as the human mind can imagine it, then that beast, that means of murder and intrigue can be shown to continue to haunt the dreams of all who dare try to solve the mystery taking place in the lonely, haunting, dangerous moors of south west England.

Recorded at the Barbican Hall, London on December 20th 2022, the David Hunter directed staged adaption of Conan Doyle’s tale is one of orchestration, of melding the world exemplified by the recording of Dylan Thomas’ Under Milkwood, and of high aural accompaniment of musical interpretation of the emotions framed by Doyle in his narrative describing the scenery, the fears of the uncivilised earth, the sound of death as it approaches the last remaining member of the Baskerville family; this is a near perfect use of the imagination, brought together by a tight beautifully entrancing script, a cast on top form, and orchestrated with detail and precision.

The nod to the lyrical adaption of Under Milkwood is not one used lightly, for both capture the idealism and truth of the works in question in such a way that the sense of illumination is blinding. The two original writers may have come from different backgrounds, different eras of British literature, even far aside disciplines and structures, but what cannot be denied is the way that they subsequent adaptors of their work have pinpointed the use of the human voice as its own character, as emphasising the need to listen, not only well, but with the full weight of every sense possible, and with a heart unencumbered by ego.

It is though in the sense of orchestration that marks this particular adaption out as being something of a unique experience, of capturing the heart as the familiar story once more reaches in, creeps through every vein and sinew of experience, and gives the dutiful listener a burning thrill of matchless drama.

A scintillating audio drama, a play, an event, that whilst might never be performed live again, has at least the facility to be listened to with creativity enhanced.

Ian D. Hall