The Early Adventures: The Yes Men

STARRING: Anneke Wills (Polly Wright/Narrator), 
Frazer Hines (Jamie McCrimmon/The Doctor),
Elliot Chapman (Ben Jackson), 
Lizzie McInnerny (Harriet Quilp), 
Stephen Critchlow(The Yes Men), 
Timothy Speyer (Nesca Bangate), 
Jane Slavin (The President)

Written By: Simon Guerrier
Director: Lisa Bowerman
Sound Design/Music: Toby Hrycek-Robinson
    Cover Art: Tom Webster
Producer: David Richardson
Script Editor: John Dorney
Executive Producers: Jason Haigh-Ellery and Nicholas Briggs

Released September 2015, Big Finish

The TARDIS crew, including Ben, Polly and Jamie, arrive on a colony christened by mankind as 'New Houston'. Meg Carvossa was a long-term friend of the Doctor's - and one that he met in his first incarnation - and the reason for them paying a visit to the colony. However, there is no sign whatsoever of her. She was an important figure, as by repelling an alien invasion, she rose up to the title of President. Repeated enquiry over this woman points to various 'different' ways she died, which only results in a confused mess.

Stranger still, the near-total absence of the apparently large population, and scattering of obsolete looking robots that serve the interest of the colony would point to some drastic series of events that is not on record. So the Doctor and his friends must investigate, without putting their lives in jeopardy in the process..

Due to references to the Cybermen by Jamie, and even the Doctor's firm intention to somehow return Ben and Polly to the time and place they first him, this is yet another story that is sandwiched between The Macra Terror and The Faceless Ones. It certainly feels quite similar in tone and style to these mid-1960s black and white TV chronicles.

In having narration as well as reasonably long explanatory dialogue, this story is unlikely to confuse listeners. The script from Guerrier has plenty of wit, as well as noticeable morality-inclined messages. The cast clearly are engaged by the core premise and help to make what is intended as a 1960s-storytelling throwback still feel relevant to our present time 21st century attitudes.

I cannot help but compare this new original story with the long-revered classic The Robots Of Death. The situation and resolution are somewhat different, but the themes of autonomy, slavery and ethics do bear reflection. As well-done as the Yes Men voices are here, they perhaps lack that eeriness and peculiar quality that the Sandminer robots did in the Tom Baker story. Having them all be exactly the same voice here is perhaps more realistic but also less engaging for the listener, but the play never allows them to take over a given scene for too long in a way that would grate.

The supporting cast otherwise all rise to the mark and the different characters with agendas that range from pragmatic to ruthless and corrupt are all distinct and play off well with the regulars. We are made to change our attitudes and sympathies several times, and this is due to a clever story where there is arguably no out and out villain but no 'goody-two-shoes' either.

Frazer Hines certainly makes a fine Second Doctor here. Return to Telos was a partial crossover of the Second and Fourth Doctors - and gave me a clear idea of how Hines approaches recreating the feel of his late co-star Patrick Troughton.  Of course in this story the Second Doctor is given centre stage, and is vibrant and complex as any story in the TV series.

Anneke Wills does a fine job as the narrator in this 'full cast' drama and come off as enhancing the overall impact, rather than being distracting. She also has that element of being wise and observant, rather than just 'a matter of fact' aid to the listener. Her recreation of Polly Wright is also to be cherished, even if we must concede there is the element of her voice aging which is rather less detectable in the case of Hines.

The new addition of Elliot Chapman is a very smooth method of finding someone who can sound and act like the late Michael Craze, and bring the fine earnestness and bravery that symbolized seaman Ben in all of his screen outings. Whilst this particular story gives better material to Polly and Jamie, there are still some moments that show how Ben Jackson has a native wit that is often necessary for an effective member of the armed forces. The hope would be for future 'Early Adventures' to reuse Chapman's services.

My main criticism for this production is that the music by Toby Hrycek-Robinson rarely manages to exceed simply breathing basic life into proceedings. Some tracks may bring an element of urgency but Big Finish has arguably done much better music frequently over the years. Hrycek-Robinson however does do well with sound design, as there are many different types of scene and action as well as substantial plot twists. Consequently the potential for confusion is quelled. 

The writer and director have proven their mettle many times before in working for Big Finish, and this play continues the trend. Thus, I look forward to further successes in this range which helps remind us all of just how brave and inventive early Doctor Who was in the Sixties.

EXTRAS:

A couple of documentary tracks feature, and they get right on with the necessary information about what inspired the story and how the cast recreated the different leading roles. Very few words are wasted, and the enthusiasm of the interviewees is symbolic of the committed performance in the actual audio play. A bit of insight into how an actor's voice develops when methodically 'getting in character' - by Chapman - is also very engaging.

There is also isolated music on offer. As i stated above, the music really was mostly just 'sort of there'. I cannot see myself playing those tracks in isolation, let alone repeatedly. However music is one of the most subjective and difficult things to argue for and against convincingly, and as such this special feature may well appeal to quite a few consumers.