By Helen Cross.

Rose has made a fresh start in the City of Angels and life feels good. But she can't ignore the past, and now it's starting to bite.

Her ex-boss Maya is loving never getting older and has Rose to thank for that. Maya has big plans for a 'rejuvenation' spa in the California hills, but Rose suspects all is not what it seems. On top of that she's worried that someone, or something, is trying to send her telepathic messages. But are they to warn her, or frighten her?

Stylish and surprising fantasy horror with a comic twist, starring Alexandra Mardell (Coronation Street) and Demetri Goritsas (Ten Percent). With music by Dana Margolin and Sam Yardley of Mercury-nominated band, Porridge Radio.

Helen Cross wrote ‘My Summer of Love’ which won a Betty Trask award and was made into a Bafta-winning film with Emily Blunt (recently rated her best film in The Guardian top ten Emily Blunt films). Mary Ward-Lowery won Best Director in 2020 Audio Drama Awards.

Rose ... Alexandra Mardell

Original music written and performed by Dana Margolin and Sam Yardley of Porridge Radio.

Sound design by Ilse Lademann and Mary Ward-Lowery

Jess has left Dan, the dockside studio and the grimy, violent world of Ronnie Vaz behind. But something is pulling her back. Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of Tracks).

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

Jess starts her first paid commission as an artist, painting a work for Dan's employer Ronnie Vaz. But she also discovers the true nature of Vaz's business empire. Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of Tracks). Written by Faebian Averies.

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

Jess discovers more about the shadowy world Dan moves in, but she's also increasingly aware of its benefits. She's moved into the dockside studio owned by Dan's employers - the gangster-run Tactical Security. And though Dan himself remains something of a mystery, the studio is starting to inspire Jess’s art. Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of Tracks). Written by Faebian Averies.

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

Dan has reappeared just as mysteriously as when he vanished. Can Jess trust him.? And is he boyfriend or predator? Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of Tracks).

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

When aspiring artist, Jess, is injured during an environmental protest, she’s taken to hospital by a kind stranger. And then the stranger becomes her boyfriend. And then he disappears. Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of Tracks).

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

Jess is an aspiring artist with synaesthesia, which means that she sees colours and patterns when she hears certain sounds. When Jess collapses and hits her head during an environmental protest, she meets the engimatic Dan. This meeting will change both of their lives.

Holli Dempsey and Josef Altin star in a new thriller of conflicting perception from Matthew Broughton (the creator of podcast drama Tracks).

Jess.....Holli Dempsey

Sound design by Catherine Robinson and Nigel Lewis

Presented by Paul French

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.

Presented by Paul French

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.

Presented by Paul French

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.