Venetia86's Blog











When it comes to starting a new series as a reader it is always a bit of a daunting prospect. To take on a book that doesn’t have a sequel already written and out can lead to the pain of needing to read more but having to wait for what seems like an eternity. This is especially prevalent in the case of the Throne of Novoxos.

It’s hard to pigeonhole the genre of this book as it has fantastical and sci-fi events to it that are mixed with action, adventure and heavy elements that make psychological thrillers so engaging.

The book is well written from the outset with an extremely well laid out plot and engaging writing style. As you leaf through the opening pages you find yourself being drawn into the novel that seems to bring together elements from human nature throughout the ages.

The story itself follows a classic and timeless plot line that is refreshed by the intricate writings of the characters’ secrets and the many plot twists that keep you gripping your kindle a little too tightly.

It is rare to see such polished and well executed quiet moments alongside fight scenes that do not labour the story with being either too long or too short and also avoid falling into the trap of over description.

The most interesting thing about this book is how well the story bears up under the weight of the different elements that seem almost contradictory in nature from telepathic powers to political intrigue and a desperate romance. It is a book that deserves to be praised as does the author, though I do not envy Tyler Chase and the task of equalling this first book with a sequel that is as elegantly crafted and absorbing.

A great book for fantasy and sci-fi fans as well as those who enjoy action packed thrillers.

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The bar for the role was set exceptionally high by David Tennant’s portrayal of the role earlier in the year. There was no expectation that Tennant’s portrayal of the Dane could be equalled let alone surpassed. However when John Simm stepped out onto the Crucible stage floor there was no doubt that he had made the role his own. Of course comparisons can always be drawn, but Simm was engaging to the point of forgetting that this was merely a play.

 

The Spartan set with lighting, costume, sound and handheld props being the only staging aids meant that the cast had the feat of creating the world around them including the social and political content of the play. This though proved to be too much of a feat for even the acting talents of the exceptional John Nettles, Michelle Dockery, Hugh Ross and Colin Tierney.

 

Nettles as Claudius portrays the villainous usurper in a refreshing mode of insecurity bordering on paranoia that complements Simm’s intense urgent Hamlet. Dockery as Ophelia brought new appreciation to the torment soul that moves the audience to audible gasps and cries as she takes her own life. Tierney endears Horatio to the audience and Ross fusses and flaps beautiful in the role of Polonius.

 

Yet for all this there is something missing, an anchor to the production that seems to be cut adrift.  The fundamental questions of who, why and where are left unanswered – an assumption that the audience is so well versed in the Bard that the actors only need to step onto the stage and recite the lines.

 

The standing ovation that was given at the end was a testament to the acting ability of the sensational cast who deserved every smatter of applause. It is a shame that their talents were not given more support in the direction of set and location. 



et cetera