Some years after the shootout on Gauda Prime, Avon is still being questioned about the true story of Blake’s rebellion…

This month marks 40 years since Gareth Thomas, Paul Darrow, Michael Keating and the rest of the original crew of the Liberator first arrived on our screens in Terry Nation’s space opera. Its four seasons have not been forgotten, with regular promises of a rebooted TV series, and a rebooted audio show a decade or so ago – but for the past few years, Big Finish have been regularly creating new stories for the crew(s), incorporating stories in and around the first three seasons.

To mark the anniversary, Mark Wright has penned a two-part tale that sees Darrow’s Avon reminiscing about the past (well – reminiscing is perhaps too gentle a word). That’s the framework upon which two separate but interlinked stories are hung: Project Aquitar, set during Series A, and Dissent, that seems to be around the same sort of time as Crossfire, the current three box set series that’s been interpolated into Series C. The former is related to the teleport system and a project that Blake and Avon both happen to have been involved with in the past – and Wright extrapolates a particularly nasty use for it that also brings in another face from the series’ past, freedom fighter Avalon (played by Julia Vidler in the TV show, but now portrayed by Big Finish regular Olivia Poulet). Avalon’s views on how to fight the Federation become key to the whole story, and Wright at times uses the character to contrast Blake’s original ideals with what the Liberator crew became – particularly in the second half.

Setting a full-cast audio during Series A or B has always presented some practical problems, given David Jackson (Gan)’s death some years back, but the loss of Gareth Thomas in 2016 has exacerbated them, and Wright and producer/director John Ainsworth get round it by referencing both characters and not having them join in the action. That aspect just about works and has to be regarded as a necessary evil in order to get the rest of the characters involved. Stephen Greif’s Travis and Jacqueline Pearce’s Servalan are as hard as ever, with some well-observed scenes between Greif and Sally Knvyvette’s Jenna.

The second story gives Wright the opportunity to query some of the decisions made by the crew in the aftermath of Star One, and we get to see some different sides to Avon, Vila, Cally, Tarrant and Dayna (played, as she now regularly is, by Yasmin Bannerman). There’s the odd moment where it feels as if the author’s foreknowledge of the events of Series C and D plays into the psychological discussions – but of course, this is a story being told by Avon, who does have that foreknowledge!

The only key crew member from the entire run not represented is Glynis Barber’s Soolin – for licensing reasons – but that hasn’t stopped the actress from being involved, in the framing sequence based on Paul Darrow’s imagined future for the series. While it would be lovely one day to get new Series D tales (Alistair Lock’s Slave is no doubt a treat in store), it’s good that she’s in this story – and potentially others that use the same device.

Wright has fun with some of the conventions of the space opera (and there’s a few shoutouts to other famous examples along the way), and Simon Power’s soundscape and music score feel completely appropriate for the period. Ainsworth keeps everything running at high energy, making the two hours pass by rapidly.

Verdict: A worthy celebration of a classic series. 9/10

Paul Simpson