All but the Inspector in this recording, are wonderful to listen to. The recording is at times, let down by the incessantly smug monotone voice of the actor playing the Inspector. The Inspector should be a mystery man who with his charm and magnetism, manages to coerce information out of the otherwise reticent family. Not a judgemental one-dimensional bore. That being said, the other characters are played beautifully and it is all in all, an enjoyable romp.
Although Mary Shelley weights this story with in-depth detail about how her characters are feeling and what they are thinking, the flow of the writing still holds you.
Dan Stevens expertly draws you in with his thoughtful and well paced vocal style.
the story is engaging and you genuinely feel something for the Monster
With regards to Dr Frankenstein one can't help but watch in frustration as he makes one
bad decision after another. Gaps in the story for me are - The characterizations of the family members, which are portrayed as one-dimensional paragons of virtue.
There is no explanation regarding important points such as how the Doc obtains body parts Or how he disposes of them, why he didnt just shoot the Monster when he had the chance and why wasn't he arrested for his wife's murder.
Likeable characters are portrayed with humour and skill by the actors in this production.
I particularly liked the character of Cora Bratter's mother.
These books are usually narrated by Penelope Keith, so it was with a bit of trepidation I bought this one narrated by Diana Bishop, whose work I am unfamiliar with.
However, there is no need for concern. Diana is wonderful. Very similar voice to Penelope's. The beauty of these stories for me lies in the frankness with which the character of Agatha Raisin is laid bare for us.
For those who want to expand their knowledge from Vol. 2. As with all audio lessons on a language, it is necessary for the listener to have some knowledge of the language already, to really get the benefit. I found the content to be practical for a person wanting to visit Japan and get by on a basic level. I enjoy the music and the voices used. I'm a fan of the earworms series.
Whenever I see or hear a version of The Forsyte Saga, I always feel sorry for Soames.
The much-maligned Soames Forsyte is the character that we are supposed to loathe, as most of the characters in the story do. But I can't. I much prefer him to his smug, watercolour painting cousin, Jolien. Or Jolien's useless windbag daughter, June. Or Irene, the unforgiving hypocrite who married him. Soames and his daughter Fleur have more spunk and personality than the rest of the Forsytes put together. And this story is redeemed by them.
The male voices in this production are wonderful. At times when people die, the dialogue is very moving and is beautifully performed. I actually cried. Twice.
As usual, a couple of the female voices let the show down. The oft referred to as beautiful character of Irene is voiced in a dull, low monotone in the mistaken belief that it makes her sound beautiful and ladylike. But she just sounds like a creepy bore devoid of personality or humour. The character of soames 2nd wife, being french, is also voiced wrongly. She sounds like an imbecilic five year old. Poor Soames, if only he could get a wife who could speak like a norman woman. But i'm particularly sensitive to these voice traits, so don't let it deter you from the production. On the whole, it is beautifully done, with love, care and affection by the actors and the producers.
This is a new recording of a Paul Temple story which had been lost from the archives.
Using many of the sound effects used in old recordings together with some pleasing performances by the actors, this production should appeal to fans of the series.
The producers have taken their time to make this enjoyable to listen to. They have even included resumes of the previous chapter, just in case you need to stop listening and come back to it. Crawford Logan as Paul and Gerda as Steve are actors whose voices are most suited to their roles. There is not a bad performance in the entire cast. Allowing for a few cliched accents here and there. As with most of the paul temple series, you get lulled into cozy chats about country houses and pink gins, and then suddenly somebody is found dead. You need to concentrate or you miss the important bits.
This is an excellent production. Some of Britain's best contempory actors give voice to some wonderful animal characters. Music and sound effects add to this production's ability to transfer you to the Wild Wood, the Open Road or to Toad Hall. Slow and gentle, its great for even young children, while being well-crafted enough to smooth the brow of a harrassed adult.
This story is full of conflict. When a woman thinks she recognises the voice of a man who raped and tortured her, she acts out her dream of revenge. However, the conflict is not only limited to the plot. The main female character, Pauline, not only berates her tormentor, she also berates her husband with a voice that grates on the listener very quickly. If you make it to the end you witness an interesting situation unravel, with a clever twist. But the author leaves the final solution up to the listener. Could have been named Misery if that name were not already taken.
Neil Simon is a master at presenting realistic characters with all their flaws gloriously laid out for us to observe. Plaza Suite is so named, as the three different playlets are all set in the same suite in the famous Plaza Hotel in New York. If the walls of hotel suites could talk, stories such as these would be told. The third play in the line-up, Visitor from Forest Hills, is particularly humourous and exquisitely acted.
This story is long. As with most murder mysteries, it is a temptation to want to race through and get to the conclusion. Be patient and wallow in the character descriptions and insights that are outstanding.
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