Home / Audio / REVIEW: The Exorcist (Part 1) Audio Dramatization Delivers
Regan with the words "Help Me," on her stomach.

REVIEW: The Exorcist (Part 1) Audio Dramatization Delivers

It was mid-morning here in Australia when Part 1 of The Exorcist dramatization went to air on BBC Radio 4. I had purchased a delicious coffee, closed my shutters and sat in darkness by the dim light of my monitor, listening without bias as best I could while taking down a few notes. This review contains spoilers to the episode, so if you’d rather listen before you read on, I suggest doing so now.

Download MP3: The Exorcist (Part 1)

Fans of The Exorcist, especially diehard fans like myself who have seen the film countless times and read the novel on a number of occasions, faced the difficult task of removing themselves from any familiarities and embracing a new approach as the adaptation got underway. Understanding that the larger intended audience for this dramatization would be people who may have never seen the film or read the book some time ago helped me a great deal. It was hard not to compare, but ultimately– this production delivered.

The first thing that struck me was how masterfully writer Robert Forrest reshuffled the timeline, dropping listeners directly into the heart of the story. The sound of a ticking clock brings us straight into the MacNiel home where Lieutenant Kinderman is again questioning Hollywood actress Chris MacNiel and her assistant Sharon about the death of film director Burke Dennings. Regan is already possessed. Chris is already stressed. Kinderman is already investigating Burke’s death.
Our introduction to Father Karras in the very next scene has him asking his parish’s Father Superior for a transfer so he can be closer to his mother, warming the character right away and laying the foundations of his guilt and rocky faith.

And just like that, with no time wasted, we’re in the thick of a captivating story.
Interestingly, there was no mention of Father Merrin whatsoever in this episode. And that’s fine– it didn’t need it. Not yet.

Hearing Kinderman mention Regan was already ‘unwell’ in the opening lines of dialogue worried me at first. I was concerned her innocence would be completely lost for anyone hearing this story for the first time. But, again, Forrest’s fantastic writing had the answer: Chris played a recording Regan made for her father before she became unwell. She spoke about Washington monuments, a graveyard the size of a city and getting a horse. We got to hear how she was before messing around with her imaginary friend Captain Howdy (referred as Mister Howdy in this instance).

While hearing Regan’s natural voice before Karras stepped into her room was cleverly handled via the tape recording, the smartest move was to not use clichéd and cringe worthy ‘raspy demon voice’ which has been so poorly mimicked since The Exorcist (even in its own sequels). Hearing Regan’s innocent voice sniping demonic things while talking with Karras had a much creepier feel to it. Even when she interchanged between tones (to illustrate numerous demons inside “the piglet”) it wasn’t as distracting as a silly-sounding demon voice might have been.

I don’t want to harp on performance because there’s only so much you can do with voices and many things need to be telegraphed as a result. So there’s bound to be a few hiccups in that regard and I think it’s acceptable to let most slide.

Having said that, I must mention how jarring and awfully out of place I found Chris MacNiel during this entire episode.
It seemed she said everything with a snarky bitterness. Perhaps this direction was deliberate in an effort to convey that she, as a mother, is at the end if her wits and desperate to get this problem with her daughter resolved. Unfortunately it unintentionally presented Chris as completely lacking any warmth. She came across as clinical, privileged and uncaring– not the kind of traits I was expecting from a worried mother.
Or perhaps I’ve just been spoilt by Ellen Burstyn’s immaculate performance in the film which perfectly encapsulated Chris’ turmoil.

Ultimately, though, the focus was clearly on Karras and his struggles, even to the point where the possessed 12-year-old Regan (who, unfortunately, doesn’t sound twelve whatsoever) plays third in line; behind Karras and his faith; and second to Kinderman’s investigation.

For a digest version of this story, things are still very deliberately paced. Lieutenant Kinderman doesn’t introduce himself to Father Karras until the 42nd minute of the hour-long episode, kicking off the second act right before the episode came to a close.

The voices were deliberate and sincere. Importantly, the music and sound design by Gary C. Newman was subtly placed in support of the drama, not in an over-barring manner which so easily could have been the case. It’s obvious the drama of this story and these characters is front-seat, leaving the listener to find the chills themselves as they listen.

While eerily similar, everything about this dramatization of The Exorcist refreshingly different. I am eagerly looking forward to part 2 tomorrow.

About Jason Stringer

Former Webmaster of captainhowdy.com

Check Also

LISTEN: BBC Radio 4’s Complete Dramatization of The Exorcist

BBC Radio 4’s fascinating adaptation of William Peter Blatty’s The Exorcist, dramatized by Robert Forrest, went …


  1. Awesome

  2. I have just listened to the Radio 4 adaptation of the Exorcist, as an enormous fan of the Novel and subsequent film, I had to step away from my familiarity of the story and it’s characters, particularly how those characters were portrayed on film, those performances are deeply ingrained in cinematic history, and went a long way in making the Exorcist the success it was.

    I had to listen without prejudice, and I was surprised how I was drawn in by this version, I liked how the writer gave a different slant on the characters without losing their identities, whilst at the same time staying true to the novel, I thought it was interesting how he gave more meat to some of the lesser characters, Karl and Willie, the Swiss housekeepers, he fleshed their back story out, Karras mother, he gives more dialogue than she had in the movie, he creates a true Italian Mama, fussing over her son, whilst scolding at the same time,

    I wasn’t overly impressed by the portrayal of Chris McNeil, Regan’s mother, I couldn’t feel any empathy towards her, there was no real sense of angst, anxiety, fear, despair and ultimately warmth, it lacked the quality of Ellen Burstyn’s portrayal, it had too much hubris attached, where she seemed detached from the plight of her daughter,

    The handling of Regan was very clever, more in the way the demon was approached, I think by keeping the voices real rather than trying to imitate the raspy croak of the movie demon they gave it a new eerie identity, where it was quite unnerving to hear the demon coming from a young girl’s voice, the whole adaptation was an interesting take on a classic novel, I wont suffer sleepless nights after listening to it, but this was a well put together broadcast, I think it may have had a greater effect had I not been over familiar with the book and film, hearty applause to the cast and writer who produced a new and refreshing take on The Exorcist.

  3. I eagerly listened to this a couple of years ago and I must agree with your review on the parts you found lacking. Specifically Teresa Gallagher’s performance as Chris MacNeil, which was, for lack of a better description, just plain awful. Lydia Wilson’s performance as Regan, wasn’t bad, save for the fact that she sounded nothing like a 12 year old. While possessed, she, of course, is supposed to have cadence of speech and a precocity that belies her age. However, it just doesn’t work with the misguided idea to have her speak in her own voice while possessed. I found Robert Glenister’s performance as Father Karras to also be singularly awful as well.

    Otherwise I found your review to be WAY too generous in its praise for this production. It really just doesn’t work. I had the misfortune to see John Doyle’s direction of John Pielmeier’s (“Agnes of God”) script about four years ago at the Geffen Playhouse in Los Angeles. This playwright re-worked the novel for stage in an attempt to highlight the theological ideas in “The Exorcist”. I (and every reviewer) thought THAT was a botched mess. Then I heard this radio play.

    Why you found the timeline shuffle to be interesting is also beyond me. Blatty’s original script tried to do this as well. Friedkin told him that his first draft was garbage, and to re-write it without flash forwards or flack backs, that it would be better played with a normal timeline. Trying to re-imagine this novel and film is a bad idea. Anyone thinking of attempting another re-work of “The Exorcist” might do us all the favor of listening to this mess before doing so. And then putting down their pencil.

  4. This guy nails Blatty’s vision of Kinderman.

Leave a Reply