Written By: Robert Khan and Tom Salinsky
                                     Directed By: Lisa Bowerman
Cast: Maureen O'Brien (Vicki), Peter Purves (Steven Taylor/The Doctor/Narrator), Mark Frost (Niccolo Machiavelli), Jamie Ballard (Guiliano de Medici), Robert Hands (Pope Leo X), Olivia Poulet (Carla),
Joe Bor (Guard Captain).
Big Finish Productions - Released November 2016 

This month’s offering in this mini-season of First Doctor stories sees Ian and Barbara give way to Steven Taylor, once again reprised by Peter Purves who also vocalises William Hartnell’s Doctor and provides most of the story's narration. He is joined for this historical adventure by Maureen O’Brien, who once again brings the youthful Vicki to life as if she were only on television last year rather than fifty years ago.

A failed attempt by the Doctor to take his companions to the 2784 Olympics results in them instead finding themselves in early 16th century Florence, where the TARDIS just so happens to land in the cellar of a house belonging to none other than Niccolo Machiavelli, a man whose infamous reputation in print, largely exceeds his actual achievements.Mark Frost gives an enjoyable performance as Machiavelli who is by turns charming and devious as he attempts to regain favour in the eyes of the influential Medici family who are represented in this story by Guiliano de Medici, ruler of Florence and his brother, the newly elected Pope Leo X.

The two brothers make an enjoyable double-act of contrasting characters. Jamie Ballard is ruthlessly cutthroat as Guiliano whilst Robert Hands gets to enjoy being a clever pontiff who forms an interesting friendship with Vicki. This allusion to Leo X’s historical reputation as “the gay Pope” is only hinted at, but this is one of several moments that make this story feel that it is not quite as contemporary to the TV series of 1965 as some of the other Early Adventures releases. There are some fun scenes with the Guard Captain played by Joe Bor, although his estuary accent seems a little out of place compared to the other RP speaking characters who are more typical of the TV series.

There are definite shades of Dennis Spooner in this story although thankfully it does not at any point descend to the level of farce experienced in The Romans. It is welcome to see that Big Finish have encouraged new writers Robert Khan and Tom Salinsky to produce a story of a not often visited area of history.

Overall, this is a very enjoyable historical tale with a strong cast which occasionally feels a little more post-modern than the 1965 series it is attempting to emulate. However, it is nonetheless a welcome addition to this range.

TheRavelliConspiracy is available now from Big Finish and is on general release from December 31st 2016.

Terrance Dicks, Narrator: John Leeson
 
 Available from BBC Audio (Download/ Four CDs)

 Published: 1st September 2016

Run Time: 247 Minutes

Season Fifteen of Doctor Who was arguably the most directionless of the Seventies. After the wonderful three prior seasons under producer Philip Hinchcliffe, Doctor Who suddenly had a very different person at the helm, as Graham Williams took over. However the new showrunner perhaps was less able to make the most of the limited resources afforded the Saturday teatime show, and also commanded somewhat less authority over the sometimes domineering leading man. It was evident to many viewers how the show was struggling through a period of transition, and the average quality of both script and production dipped quite dramatically. It does need to be acknowledged, however that budget cuts were enforced by higher management, and furthermore in the case of this story industrial strikes took their toll. 

The last two years had featured very strong climactic stories, which made the often regarded 'burden' of six episodes into an opportunity to really explore an exciting storyline and afford one-off characters stronger examination. The Invasion of Time unfortunately stopped the run of triumphs, although it still had quite a few merits to prevent it from being anywhere close to a disaster. The foundations for a satisfying season finale were never quite right from Day One, and even the same budget as Season Fourteen would not have prevented some of the decisions made by the production team. Experienced writer David Weir was unable to offer a script that could be made to work on screen; although perhaps if made with Hollywood resources it would have proven a success. Some Who stories failed for being too ambitious, with many of those being in the experimental Sixties era. But surely the concept of killer cats that could walk upright and talk should have been vetoed from the off(?). Deciding to keep the basic setting of the Doctor's home world, script editor Anthony Read, along with Williams, came up with Invasion. It was a work of some desperate measures, and to be frank it did show through a significant portion of the story's duration.

The (audio) book format takes away some of the considerable ropiness of the onscreen production. On the other hand, it also excises the excellence of Borusa and Kelner - performed respectively by John Arnatt, and Milton Johns, (who also made a fine villain in the re-discovered The Enemy Of The World). The ever-strong Louise Jameson made the most of the emotional tribulations that faced Leela, as she appears to be cast aside by her best friend. Even Andred and Rodan, while hardly the stuff of legend, did make for likeable one-time characters, and as portrayed on-screen gave some colour to the rather obtuse and stuffy society of Gallifrey's Capitol.

All the same, there is no getting away from the laughable visuals/costumes used for the Vardans, and the inadequate allocation of money for the Sontaran invasion squad. The casting and/or performances for both the Vardan leader, and Commander Stor left something to be desired as well. And most dedicated classic Who fans will be aware of the use of a disused hospital for the final episode run-around sections, within the endless depths of the Doctor's TARDIS, with even some verbal 'acknowledgement' by the characters of the repeated use of the limited sets.

Apart from exploring Gallifrey in notable depth and seeing Leela leave the show, Invasion was one of a number of stories where the Fourth Doctor went 'evil'. Other examples involved possession, being impersonated, or replicated in android form. This story however did the most with the trope, by allowing Tom Baker to come across as chillingly ruthless and corrupt. And yet there was also that hint at times he was still the same do-gooder, as viewers had long come to expect. Once episode three of the story is underway, an element of tension subsides as the Doctor's true intention is clarified. But then with each passing episode the plot become shakier as the rushed writing process shows through.

Nonetheless, this brave choice to start a season closer with such a shocking premise should still be given some credit. Thus, taken on its own terms as an intriguing story, with a hook as to the Doctor's loyalties and overall game plan, and also a chance to see how Gallifrey has fared since the conspiracy that took place in The Deadly Assassin, the novelisation had some distinct in-build advantages. Terrance Dicks, so comfortable at this point as an author, was always going to produce something pleasantly readable. 

This new audio production is yet another feather in BBC Audio's cap, and the decision to once again employ John Leeson was a sound one. This loyal supporter of the show - both during his time in the cast, and many years after interacting with fandom - reprises his K9 voice effortlessly, and seamlessly incorporates any extra lines he is afforded in this version. One of the most minor characters sounds a little too much like K9, but that is forgivable, as Leeson's overall range is strong, and he breathes life even into the more one-dimensional figures of the original scripts. 

The much-praised Episode Four cliffhanger makes for the most dramatic chapter ending, and sees Leeson's heartfelt read-through of the prose at its absolute peak. This moment is coupled with a nicely done accompaniment of orchestral music - somewhat similar, but certainly not identical to the great work of Dudley Simpson. Even if the front cover gives away the main enemy's identity, for someone completely new to the story and/or Doctor Who in general, the decision made by Williams and Read to use a big twist to bolster the 'four-plus-two' episode structure twist still holds up almost forty years later. Of course, back in 1978 the chances of spoilers were next to none, with a little bit of discretion. 

In terms of what original material Dicks' adaption brings to readers who want more than just a solid translation of the teleplay, in all honesty this effort has limited 'bonuses'. Most regrettably, there is no build on the Leela/Andred relationship in this version of the story. Compared to the likes of Jo Grant, Vicki, or even Peri, this romantic exit - especially for a companion as iconic as Leela - really felt artificial. In fact there is less indication of their bond than the TV version, which had some moments of hand-holding/ eye-contact for Jameson and Christopher Tranchell to try to signpost to viewers. Also, perhaps Dicks missed opportunities for the Doctor to justify risking a full-scale Vardan invasion, and also the price paid in a number of Time Lord and Gallifreyan deaths. This loss of life, so normally abhorred by the Doctor is likely the by-product of a necessarily rushed script at the time, which still needed its quota of action-adventure and suspense.

There are at least some welcome explanations of how the Doctor was able to use the status of President, despite continuing on his travels, via a solid recap of the previous (and superior) Gallifrey story, and also a little bit of clarity over which of Rassilon's artefacts remained intact, for those who make the effort to scrutinise such details. 

In sum then, this is a nice little addition to the BBC Audio library, mainly thanks to John Leeson's committed involvement. The original book was efficient in getting the rather elongated six-parter told in expeditious fashion, and the running time here - spread over 4 CDs - feels comparatively lighter. As a tale in its own right it can be followed with little difficulty, although it certainly resonates more if the listener is somewhat clued up on Time Lord basics, and also familiar with Leela's development (which evoked George Bernard Shaw's play Pygmalion).Whilst probably not the first choice for a fan unfamiliar with the Tom Baker era - and in particular this maiden season of the Williams era - this audiobook still holds its own, and offers a good few hours of easy listening.

Written By: Robert Shearman
Director: Barnaby Edwards

Cast: Paul McGann (The Doctor); India Fisher (Charley Pollard); Louise Rolfe (Edith); Lennox Greaves (Mr Shaughnessy); Sue Wallace (Mrs Baddeley); Robert Curbishley (Frederick); Juliet Warner (Mary)

Big Finish Productions – Released September 2016

This deluxe vinyl edition of TheChimesofMidnight follows on from the story being voted the best of Big Finish’s main range in their 2015 poll (runner up Spare Parts will also get the vinyl treatment next year). The release is limited to 500 copies and comprises the original story and a brand new retrospective documentary spread across four discs.

The story

As noted above, The Chimes of Midnight has been voted the best of Big Finish’s main range, and I’m not going to argue with this. Chimes is one of those Doctor Who stories where all the elements come together to create something truly exceptional. The writing, performances and production are pretty near faultless.

Putting a Doctor Who spin on classic TV shows Sapphire and Steel and Upstairs Downstairs was a clever choice by Robert Shearman. From those inspirations he tells a story which is both darkly funny and genuinely moving, skewering the injustice of the British class system in the process.

This is a story all fans of Doctor Who should own, and demonstrates not only the best of Big Finish, but one of the best Doctor Who stories in any medium.

What’s different?

The move in format CD to vinyl has resulted in some unavoidable modifications to the story. Instead of the original CD’s four episodes, this edition is split into six parts of around 20 minutes each. Rather than ending on a cliff-hanger, each disc finishes at a convenient (usually dramatic) point in the dialogue. It’s better to think of this as a compilation spread across six sides than as a six episode version, although I suspect some purists may miss the original cliff-hangers.

The documentary

The fourth disc in this collection contains a brand new documentary looking back at the production.  We’re fast approaching the 20th anniversary of the start of Big Finish’s Doctor Who range and it’s great to see the company celebrating their history. The audio releases have been a significant part of the Doctor Who landscape for nearly two decades, and it’s nice to see them getting some more in-depth exploration.

The documentary rounds up a broad range of contributors to Chimes’ creation, and conveys they sense that the story’s success was in part due to the coming together of the right people at the right time. Along with writer Robert Shearman, director Barnaby Edwards and the Big Finish producers, we also hear from sound designer Andy Hardwick and composer Russell Stone. Hardwick and Stone give a wonderful insight into their craft, and it’s great to see these (sometimes neglected) areas getting the attention they deserve.

For me the highlight of the documentary is the interview with Robert Shearman, in particular his discussion of discarded ideas for the story, and an audio tour of his own house (which inspired the story’s setting).

The one thing that feels missing from this documentary is a contribution from the cast. It would have been nice to hear Paul McGann and India Fisher’s take on The Chimes of Midnight’s continuing popularity but it’s a minor oversight in this excellent piece.

Overall

The Chimes of Midnight is a Doctor Who classic of the first order and is essential listening for fans. The documentary accompanying the release is a fascinating insight into the story’s creation, which brilliantly captures the context of the time it was created.

This release is a limited edition of 500 at a premium price, so it’s a shame that it will have a small audience. Hopefully the documentary will get a wider release at some point. If Big Finish have plans to explore their back catalogue in future such releases it would be great to see some cheaper downloadable options, alongside premium, physical releases like this.

Written by Philip Lawrence

Directed by Lisa Bowerman

Cast: William Russell (Ian/The Doctor), Maureen O'Brien (Vicki/Narrator) Jemma Powell(Barbara/Fula), James Joyce (Jospa), Kate Byers (Sharna), Elliot Cowan (Gark) and Orlando James (Krube)

Big Finish Productions – Released October 2016

This reviewer is still something of a newcomer to Big Finish’s Early Adventures range. The premise of producing something closer to a full cast audio drama, but still with narration so that the finished story resembles the soundtrack to a missing television adventure is enjoyable one and on the basis of this release there is just a much potential for new adventures for the first two Doctors as with the popular Companion Chronicles range.

It is quite difficult to review this particular story without straying into what might be considered as spoiler territory but this reviewer will attempt to avoid giving away too much.

At the centre of this story is the Fifth Traveller of the title. Jospa is a potential new companion, who is enjoyably brought to life by James Joyce. Joyce is a clearly versatile actor who has made a number of previous Big Finish appearances and is already established as a series regular in both the Charlotte Pollard and UNIT – The New Series spin-offs. Jospa is introduced as already being a member of the TARDIS crew having apparently joined during a previous unseen adventure set on 31st Century Earth, he is a young man of a similar age to Vicki. However, there are clues for attentive listeners which sign post the mystery at the heart of this story which become more obvious during the third and fourth episodes. Whilst the resulting revelations may not come as a complete surprise, they still make for an exciting listen as the story builds to its climax.

The other regular cast are on great form with elder statesmanWilliam Russell doing a sterling job voicing both the Doctor and Ian and Maureen O’Brien managing a wonderfully youthful Vicki who shares some excellent scenes with Jospa, whilst also providing the story’s narration. They are given excellent support in her second Big Finish appearance in the role of Barbara by Jemma Powell, who portrayed Jacqueline Hill in An Adventure in Space and Time. This reviewer had not experienced the “new” Barbara before but was pleased that she fitted in well and seemed to very much embody the charst acter rather than attempting to overly impersonate Hill’s original portrayal. The remaining cast, Kate Byers, Elliot Cowan, and Orland James were an excellent ensemble and as ever with this series and many of the Companion Chronicles before it, benefitted from clear direction from Lisa Bowerman. The sound design and music by Toby Hrycek-Robinson felt very much in keeping with the television series of 1965.

Overall, this is an excellent contribution to Big Finish’s expansion of the adventures of the First Doctor. This reviewer is writing on the fiftieth anniversary of William Hartnell’s final regular appearance in the part he loved and one cannot help but reflect that it is a fitting tribute that his portrayal is still inspiring such great storytelling so many years later. Long may it continue.

This story is available to buy now directly from Big Finish and will be on general release from November 30th 2016.

Producer & Script Editor: Ian Atkins

Executive Producers: Jason Haigh-Ellery & Nicholas Briggs

Written By: Tony Jones

Directed By: Lisa Bowerman

Cast: Nicola Bryant (Narrator)

After helping save Beadledom 3, and it’s inhabitants the Ellani from an invasion by the Valtor, a cybernetic race, the Doctor and Peri find themselves on Beadledom 3 caught up in a mind boggling loop of continuous red tape, forms to complete, rules, then more rules and cheerfully mindless local authorities to contend with. The Ellani are a race whose society is totally dependent on the rules, they literally have rules for everything. Our two heroes are separated from the TARDIS, and as the story progresses, it looks less and less likely that they will be reunited….

We have all had jobs, or found ourselves in situations where we have been stuck in some awfully pathetic and petty internal issue where one department is quoting one rule at you and another doing the same, and there you are, feeling very frustrated and caught in the middle, exasperated, and not knowing which way to turn. That is the basis of Rulebook. You feel for the Doctor and Peri, especially when the rules are manipulated in the Ellani’s favour when it suits them in order to settle a local dispute.

Toby Jones brilliantly paints a picture of a society that knows nothing of spontaneity. The listener can really relate to the Doctor and Peri’s plight, and share their frustration. Of course, scratch the surface, and the story is a satire on our own world today, somewhere where risk has been removed, and if something goes wrong – well it is always someone else’s fault – the rules say so.

Nicola Bryantis a true joy to listen to, you can really feel the frustration in her voice when she is voicing the straight talking American Peri. Counter this with the monotonously calm and cheerful Ellani, and the contrast is perfect. I also thought that it was great to hear a new adventure with this Doctor and companion pairing. Although Big Finish have done the Fifth Doctor and Peri proud, I still feel the pairing as being a tad underused on television. When I think of the character of Peri, I always put her in the TARDIS with Colin Bakers doctor. I loved a chance to hark back to an era on television that seemed wrongly abrupt.

Rulebook is an easy listen, from a brilliant new writer, the story is available now from Big Finish.

Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Hattie Morahan (Helen Sinclair), Alex Kingston (River Song), Jeremy Clyde (George), Ian Puleston-Davies (Angus Selwyn), Richard Hope (Phillip Cook/Kal), Anna Acton (Kate Drury), John Shrapnel (Thomas Cromwell), Kasia Koleczek (Apolena), Glen McCready (Solvers/Abbot), Emma D'Inverno (Rosalia), Tim McMullan (Octavian), Janie Dee (Risolva), Robert Bathurst (Padrac), John Heffernan (The Imposter) and Nicholas Woodeson (The Clocksmith). Other parts portrayed by the cast.

Big finish Productions

The Doom Coalition series, which follows on from the acclaimed Dark Eyes box sets, is a very promising sequel saga.  The third installment has a large amount to live up to after the events of Doom Coalition 1 and 2.  In order to help the reviewing process, I won’t go into the more intricate plot details, partially to not make this review longer than it needs to be, but also to allow for those listening to the story to experience their own responses to the unfolding events.
 

3.1. Absent Friends

Mobile Phones are commonplace today, but twenty years ago they were still technically considered as a new innovation.  The opening of this story transports us to a time and place where a phone mast is considered an eyesore by residents of a small English village.  Living with the recent entrance of a mobile communications company into their midst, The promise of a free phone seems far too good to be true, an observation this reviewer made as soon as it was brought to the table.

Landing in the aforementioned small village, using debit cards (an unfamiliar technology to them), with a pin number that is actually a Doctor Who TV Easter egg, Liv and Helen are booked into a pub and The Doctor goes off to tinker with the Tardis.  As Helen goes on what would seem like a reckless journey that has the potential to rip holes in space and time, the mast is revealed to be causing problems of its own and they most certainly have far-reaching consequences.

This story’s relatively calm opening is supplemented by a suspenseful plot, along with some suitably awkward moments that contrast this to what might be expected.  This was a very much appreciated introduction, with an ending that might just leave you scratching your head.

3.2. The Eighth Piece

This story’s intro, after the structure of 3.1 Absent Friends, might come as a bit of a shock.  However, as the three simultaneous missions of The Doctor, Liv and Helen to uncover pieces of an ancient device begin to conjoin, the implications of what happened in the previous box set also begin to make a part of a greater whole.  Alex Kingston returns in an appearance that is not entirely surprising but is definitely a welcome re-entry into the series, with references to the prior events meaning that to fully grasp what’s going on, it is best you check out Doom Coalition 1 and 2.

3.3. The Doomsday Chronometer

The introduction to this episode actually takes place part way through the second story, 3.2 The Eighth Piece.  Confusing?  That’s how the rest of the story builds itself, around multifaceted plotlines that all converge to be part of a greater whole, much like the titular Doomsday Chronometer.  With the discovery of clues and hints pointing to pieces of the device, so to come references to other times in The Doctor’s and River Song’s lives, as documented in the television show.  This particular episode might seem convoluted, but eventually, it coalesces into an easier to understand line that works its way smoothly into the final part of this box set. Moreover, we see an appearance from a crucial figure we have not seen thus far in Doom Coalition 3, but whose return was, I think, inevitable.

3.4. The Crucible of Souls

The occasionally comedic overtones this concluding story provides are overshadowed by the high stakes situation.  If I say any more than that this review would surely double in length to accommodate the necessary plot summaries and character profiling.  Suffice it to say, it was very much worth the wait.

Doom Coalition 3 was definitely worth waiting for, with a cast who deliver their lines with great emphasis on their characterisation, a score that fits directly into the production and a plot that whilst it might be confusing is still understandable.  With the end of Doom Coalition 3, realisation dawns on the fact that all we as fans have to do now is wait for the conclusion of the saga.  Personally,  I am excited at the prospect of the final four stories and the potential they have to be at least as good as, if not better than Dark Eyes 4, the final box set in the preceding series.

This title was released in September 2016. It will be exclusively available to buy from the BF website until October 31st 2016, and on general sale after this date