Written By: Nicholas Briggs

Directed By: Nicholas Briggs

Tom Baker (The Doctor), Louise Jameson (Leela), Michael Maloney (Gregor Saraton), Gillian Kearney (Mina Challis), James George (Knight Commander Elunas), Steven Alexander (Knight Commander Ollerie), Nicholas Briggs (Baragor/Zygons/Knights)

To someone who is only a casual Doctor Who fan, the Zygons may not be the most familiar of The Doctor’s proverbial rogue’s gallery.  For over 3 decades, their sole appearance was during a single story, 1975’s ‘Terror of the Zygons’.  However, with the simulcast event that was The Day of The Doctor, this particular foe has made a rather remarkable comeback.

The opening scene of Zygon Hunt, from Season 3 of the Fourth Doctor Adventures, is something reminiscent of Jurassic Park, aside from the otherworldly setting and the lack of actual dinosaurs.  A team of big game hunters move through the jungles of the unnamed planet, shooting for sport any beast that they deem worth having a crack at. However, as the scene changes, we see what looks like a radar screen, with what can only be described as a large animal moving across it accompanied by a steady blipping noise.

The Doctor and Leela land on the planet, with the usual spell of comedic dialogue, remarking that the weather is better this time round.  As they move off into the jungle, Leela shows her Sevateem heritage by applying moss to a wound they find on an injured, pterodactyl-like creature.  As Leela tells the creature to “rest a while”, it becomes apparent that her and The Doctor are being watched.  A hunting party suddenly emerges and Mena, an engineer, points a gun at the time travellers.  It is revealed that the “Solar Knights”, with Mena as their Commander’s Adjutant, are on the planet Garros on shore leave.  While The Doctor and Leela converse with Mina, it appears as if they are being observed or listened to from an undefined location.

The Doctor remarks that the reptilian species they just helped are “the largest inhabitants of Garros”.   However, upon hearing a loud roar in the distance, they realise that this might not be the case.  The Solar Knights pursue the large creature they are “hunting for sport” and it dives into a lagoon, so they take up positions to be ready when it surfaces.

Mina takes The Doctor and Leela back to the lodge, whilst Saraton, the Knight Commander, arrives after a conversation showing the relationship he shares with his “little helper”.  Saraton’s interrogation of The Doctor and Leela turns sour when the “savage” reveals what Mina recounted earlier, much to the Knight Commander’s derision.  His moment of anger is cut short when Elunas, one of the officers, falls from a balcony.  The fall, The Doctor believes, is not what killed him, but Saraton refuses to listen and the actual cause of death is almost glossed over.

While The Doctor and Leela escape from Saraton’s guards, we see unidentified individuals watching over proceedings, seeming interested in the use of The Doctor’s sonic screwdriver.  As The Doctor and Leela attempt to return to the TARDIS, they see Mina with one of the large creatures being hunted earlier.  The beasts are seen to be feeding smaller creatures, which The Doctor identifies as Zygons.  The Doctor and Leela watch the scene unfold, with a Zygon remarking that it is only a matter of time before they capture Saraton.

The second episode opens with the attempted massacre of the Zygons, with Saraton believing they have hired The Doctor and Leela to kill him.  Saraton is suspicious of Mina, but isn’t entirely sure of the underlying facts.  The Doctor, meanwhile, has a “change of heart” and decides to solve the various mysteries that plague the planet after all, whilst making his way with Leela back to the lodge.  They are halted in their progress by a Knight, who is promptly killed by a Zygon – demonstrating the Doctor’s revelation that they are “deadly at close quarters”.  Leela is unsure why The Doctor then wishes to speak to Mina, considering the events that have transpired, but is eventually convinced.

It emerges that Gregor is a war criminal and the Zygon plan is to destroy the human race for the sake of preservation.  However, Mina experiences a crisis of conscience but still attempts to kill the time travellers as part of her mission.  The Doctor and Leela are observed discussing their next move, as Leela states that she has a “cunning plan”.

The revelations that make up the rest of the episode are well written and detailed, including a reference to the Loch Ness Monster!  The final confrontation and negotiation attempts are intense, with Gregor not realising his end is nigh until it’s too late.

The conclusion to the episode is heart-warming; with the Zygons realising that Earth is not the only place capable of settling Zygon life.  With that, the time travellers depart the planet Garros, The Doctor and Leela realising that their companionship is of great importance to one another.  The Doctor pushes a control on the Tardis console, landing them in their next adventure, unsure of when or where they have ended up.

The vocal casting, as for the previously reviewed Season 3 Fourth Doctor Adventures, is well-suited.  The Zygons are clearly distinct from the rest of the cast by their almost ice warrior like whisper with the planet’s own jungle life also being part of the immersive atmosphere.   As for the Solar Knights, Ollerie and Elunas are acted well, with the Knight Commander encompassing every inch of the power hungry “mankind patriot”.

The Doctor and Leela work well together, playing off of each other as has become customary, with the comedic misunderstandings and misinterpretations keeping the story flowing.  The score fits the era well and whilst it is ever present, it makes itself known only when it wishes to, paralleling the Zygons themselves.

In conclusion, this story is well crafted and leaves many questions unanswered for a reasonable length of time.  In spite of the relative lack of action, the acting from all sides be it the Solar Knights, The Doctor and Leela, or the Zygons, is more than enough to make this adventure worth a listen.  With or without prior knowledge of the Zygons this adventure should be an interesting new listen for any fan.  However, background may be needed to make the principles explained easier to understand.

Written by Gareth Roberts
Adapted by John Dorney
Starring Tom Baker, Lalla Ward, and John Leeson 
 with Michael Troughton, Tim McInnerny, Jon Glover,
Jane Slavin, and David Troughton
Directed by Ken Bentley
Released April 2015

The last of Gareth Roberts' trilogy of Fourth Doctor novels to be adapted for audio by Big Finish is great fun. It's rather a lot of great fun though, like a seven-course meal shared with friends. It's slow-burning, filled with good ingredients and fine conversation, but also a little hard to digest in one go. 

In Roberts' earlier efforts, The Romance of Crime and The English Way of Death he gave us first a fine trad-Who story, then something a little more out-there. This is a Season Finale story turned up to eleven, it's a lot of story to fit into the four episodes here. The cliffhangers in the book are preserved by John Dorney, rather than reorganising into an easier six-parter. It's all good stuff, with an excellent cast, but the episodes are rather long.

The Well-Mannered War opens with the Doctor, Romana, and K9 landing in the middle of a war between humans and the tortoise-like Chelonians -  a conflict that is taking rather a long time to get going, over a century in. As wars go, it's more like a mild inter-office dispute. The opposing sides get on well, they go for dinner together. The war even has its own tea-trolley.

Being Doctor Who, of course this can't last - suspicious deaths on both sides lead to the war escalating into actual conflict, and the TARDIS crew are quickly separated and flung into variously investigating just who or what is behind this, and election campaigning, as K9 suddenly becomes rosette material. There are sinister carrion-flies, well-meaning robots, a fake civilisation, and an old foe to deal with. The overall effect is somewhat like a drastic rewiring of The Armageddon Factor, such is the amount of shared DNA. The dose of black humour is a little less than in The English Way of Death, this is more of a space-opera.

The Doctor, in truth, takes a bit of a backseat for the middle episodes, whilst Romana and K9 take centre-stage. Both are flung full-pelt into proceedings with cowardly artist Menlove Stokes (Michael Troughton, reprising his role from The Romance of Crime) in tow, whilst the Doctor plays sleuth with the Chelonians. That said, although they're separated for so much of the story, the three leads are all on fine form. Tom Baker is rarely better than here, his slightly moodier performance recalling the Hinchcliffe years in places. Lalla Ward and John Leeson are simply a delight, their rapport carries the story through some complex exposition, but most of all it's the character work that stands out for all three. Dorney's skilful adaptation of Roberts' story perfectly recaptures that spirit of '79.

With a fine guest cast, and some strong direction, music, and sound design - The Well-Mannered War is a fine tasting menu of a Doctor Who story. As with the original, it ends on a cliffhanger, as the Doctor pulls the TARDIS out of reality to escape the Black Guardian. We never found out how this was resolved, but Big Finish have recently announced that The Fourth Doctor, Romana, and K9 are due to return for more adventures. Perhaps we'll finally find out what happened next.

Written by Russell T. Davies, 
Adapted by Jonathan Morris
StarringSylvester McCoy, Travis Oliver, Yasmin Bannerman,
with Denise Black, Michelle Collins, and Peter Barrett
Directed by Ken Bentley
Released April 2015

Revivals are a funny old thing. In popular culture, they tend to happen because something happened, say, twenty years ago. These revivals tend to take the form of TV specials or talking head documentaries detailing trends or fashion crimes of the time - or, in music, themed anniversary gigs or 'special editions' of albums. 

Big Finish is having its very own 90s revival at the moment. Thankfully, it's chosen to leave out the dodgy fashions and the Macarena. 

The 1990s were, arguably, not a brilliant time to be a Doctor Who fan. The TV series was effectively dead for the entire decade, barring around fourteen minutes in '93 and ninety in '96 when it briefly stirred from its slumber. However, Who enjoyed an extended afterlife in print through most of the 90s, where old hands and hungry young writers were given practical carte blanche to bend the rules, and take the TARDIS to new, more grown up places. 

Having successfully adapted a slew of the New Adventures and Missing Adventures novels, Big Finish have now moved on to one of the big hitters, Damaged Goods, a 1996 novel by one Russell T. Davies, expertly adapted here by Jonathan Morris.

Damaged Goods is an interesting beast, looking both forwards and backwards. It's very much a New Adventure in that we have a mysterious chess-player of a Seventh Doctor, new companions, adult content, Gallifreyan super-weapons, and grisly death everywhere. However, there's also a germ of the sort of Doctor Who that Davies would bring us nine years later, with its late-80s council estate setting, strong female characters, and that instantly recognisable dialogue. In fact, the only person not talking like a character in an RTD episode of Who is the Doctor himself. Sylvester McCoy is in a mellow mood here, rrrrrrrolling his rrrrrrs, and clearly very much enjoying himself.

He's not the snappy Doctor of 2005 - instead his dialogue is mysterious and florid, much more the Cartmel Masterplan than the Bad Wolf scenario, but it's a refreshing look at what might have been if the likes of RTD had got their hands on the series earlier.

He's joined here by Travis Oliver and Yasmin Bannerman as NA Companions Chris Cwej and Roz Forrester. Both are already established by the time of the original novel, and Morris wisely doesn't waste much time introducing them, instead choosing to write them in by basically having them arrive with the Doctor and that's that. Oliver is gung-ho and likeable throughout, playing up nicely to the coded sexual come-ons he receives. Bannerman is equally good, but in truth doesn't have as much to do, being basically back-up whilst the Doctor solves mysteries and Chris.....gets involved.

The story isn't quite a straight adaptation, instead this is more the sort of rewrite that Davies himself would later perform on Paul Cornell's Human Nature - faithful, but retooled for audio with hindsight and a few changes made with Davies' blessing. There's still sex and drugs, but the famous same-sex fumble between Chris and David is now a little less explicit, and the cocaine being dealt by the Capper in the novel is now, a 'made-up drug' - Smile, perhaps in tribute to Chris Morris's 'Cake' episode of Brass Eye.

This doesn't mean the story's been in any way neutered. This feels more like the darker moments of The Second Coming and Cucumber. The dialogue sings, but it's dark as hell, with perhaps the only concession to a family audience being a note of hope at the end.

The real heart of the tale is the terrible bargain that Winnie Tyler (Michelle Collins) strikes in the 1977-set prologue. The moment where she gives away one of her twin babies, through a third party, to rich, childless Mrs Jericho (Denise Black). Collins plays a troubled everywoman, driven to do the unthinkable by desperation. Black's Mrs Jericho is utterly chilling, appearing initially meek and grief-stricken, before she literally transforms before your ears into a very prim and proper murderer, who calmly visits the vendor to announce that she has been sold a faulty child and wants an exchange, whilst all hell breaks loose around them. In fact, she's almost oblivious to it. Further darkness is added by the creepy Capper, a reanimated grinning corpse full of tentacles, played by Peter Barrett. Barrett has a tough gig, having to convey undead malevolence purely through a low, gravelly voice and gritted teeth. He pulls it off, but is overshadowed slightly by the more human menace of Mrs Jericho.

The sound design and Ken Bentley's direction are both first-rate. The cast and crew rise to the material brilliantly, and Morris brilliantly re-weaves RTD's story for audio. Morris also surprisingly drops in one or two very on-the-nose new series references which I won't bring up here. One is definitely a portent of things to come, considering Big Finish's recent announcements about a certain institute based in Cardiff. The other could be something. I'll leave you to decide. New series links or not, this is another excellent offering from Big Finish. it's perhaps the only time we'll hear a Davies story on audio, but, you never know.......

Written by Jonathan Morris
Directed by Ken Bentley
Starring Peter Davison, Sarah Sutton, Janet Fielding, and Mark Strickson, with Robert Duncan and Catherine Skinner

Sometimes, Doctor Who is slightly dark. Sometimes that darkness is offset by black humour. Other times it's not, and it's just plain bleak. This is one of those times.

The Entropy Plague wraps up both Big Finish's new E-Space Trilogy, and the story of the older Nyssa. Rather than picking straight up from Equilibrium's cliffhanger, it does something different. It opens with the Doctor sombrely visiting Nyssa's son Adric to deliver some bad news, and the story unfolds in flashback, with all four members of the TARDIS crew 'narrating' in turn. We know right from the off that something has gone terribly wrong, and that Nyssa isn't coming back.

The TARDIS crew, in pursuit of the kidnapped Tegan, arrives on Apollyon, a world that knows it is dying, a world with no power, wracked with entropy - patrolled by steam-powered robots and menaced by horrifying 'Sandmen'.

Here, fruit rots within minutes, and desperate citizens offer themselves up as 'tributes' to amoral scientist Pallister (Robert Duncan) in an attempt to get off-world. Pallister guards a portal - a way out of the CVE and back into N-Space, but it's powered by human life-force. The tributes are quite literally sacrifices, procured for Pallister by a group of space pirates led by one Captain Branarack.

The pirates are quite cartoonish, with their broad West Country accents and constant leering they just don't quite sit right with the rest of the story - which is so bleak that they don't even provide any form of light relief. The sneaky Pallister, on the other hand, is excellently played by Duncan. There's not a lot to him as a villain apart from standard-issue amorality and self-preservation, but Duncan runs with it and makes him compelling. Catherine Skinner also does well as the plucky Cherryanne.

The episodic flashback format is unusual, but works pretty well. Ken Bentley does a fine job of directing as always, and the sound design is superb with its hissing Sandmen and steam-driven Sentinels.

Writer Jonathan Morris really excels on two fronts. The first is a fine bit of world-building - vividly binding together not only themes from the rest of the trilogy but nods to Warriors Gate, The Keeper of Traken, and Logopolis, with a soupcon of the mexican day of the dead thrown in against a backdrop of dying stars. The second is in some fine material for both the Doctor and Nyssa, with the former starting off on rattling form - charming and cunning, until he realises how hopeless their situation is, and attempts to sacrifice himself by staying behind in E-Space. Peter Davison makes this all sound effortless, his Doctor is lining himself up here to do basically the same as his much older self will one day volunteer for on Trenzalore, he sells it well with a tiny hint of regret, and a sense of responsibility for dragging everyone into this.

Meanwhile, Sarah Sutton quietly steals the show - as wise, gentle Nyssa calmly and gracefully steps into the breach to save E-Space, at the expense of her freedom, leaving her friends and family bereft. This looks to be her final bow, her final speech is beautifully written and tear-jerking. Although it ends with a slight note of hope, this looks like more of a full stop than a comma. Nyssa has had more character development on audio than she ever did on TV, and her character has really grown.

Tegan and Turlough slightly fall by the wayside for parts of the story due to various collapses and captures, but have valuable contributions to make, with Tegan the angry voice of humanity and reason, while Turlough's trademark selfish nature twists well into upset frustration when his friends try to sacrifice themselves. It's a nice added dimension to his character, and it really adds to the story. 

Knowing Big Finish, this might not necessarily be goodbye for Nyssa, but if it is, it's a beautiful, sad send-off for an underrated companion - one of the Doctor's best friends. The Entropy Plague isn't always an easy ride, but goodbyes aren't always easy.

Written by Scott Handcock & David Llewellyn

Produced and directed by Scott Handcock

Big Finish Productions, 2015

“Tell me Lukas, what do you know about the Adherents of Ohm?”

President Romana, Gallifrey: Intervention Earth

Gallifrey was originally conceived by long-time Big Finish and Doctor Who alumnus Gary Russell as BF’s answer to The West Wing, combining the power plays and politicking of Gallifrey’s inner halls of power with extraterrestrial and temporal threats from beyond the Time Lord capital. The mainstays of the series – Romana, Leela and Co-ordinator Narvin (Seán Carlsen), head of the Celestial Intervention Agency (CIA) – began as bitter rivals before remarkably becoming close allies.

Unlike its parent program Doctor Who, Gallifrey’s first 24 chapters across six series were generally complete stories of roughly one hour’s duration each, with numerous story arcs flowing over into subsequent episodes, and for the most part set on Gallifrey (or in later boxsets, variations of the Time Lords’ home world).

The latest instalment of Gallifrey is a departure from the norm in several ways. Intervention Earth is a single story which eschews the one-hour format for a structure more like a classic Doctor Who four-parter (each episode of 30 minutes duration). The overall serial is also intended to be broader and faster-paced, focusing on a conspiracy that is not only confined to Gallifrey but which (as the title obviously implies) encompasses Earth as well. Indeed producer, director and writer Scott Handcock in early publicity for this title described it as “Time Lords meets 24”, an evolution on the Time Lords/West Wing analogy, although that is really an exaggeration. The pace of this serial is very, very different from the urgency and tension of 24. In fact, it strays little from Russell’s original concept.

Of the veterans of earlier series, only Carlsen reprises the role of Narvin. President Romana is also back but in this story the role is not portrayed by veteran Lalla Ward. Instead, the honour falls to former Buffy the Vampire Slayer alumnus Juliet Landau, who portrayed the Time Lady’s third incarnation in Gallifrey VI as well as the Doctor Who Companion Chronicle Luna Romana. Landau portrays a regenerated Romana sometime after the events of Gallifrey VI, when she is in the last term of her presidency. Leela’s role in this drama is ably filled by the Seventh Doctor’s long-running companion Ace (Sophie Aldred). Now a CIA agent, Ace is equipped with her own TARDIS (with functioning chameleon circuit!) but her bolshiness has definitely not been tempered by life and education on the Time Lord home world.

It is hard to judge exactly how good this new “team” is to the “trio” of Gallifrey’s first six series. This is mainly because they are split up across the four episodes and do not unite until the climactic episode. Indeed, each of the four episodes focuses on key characters. Ace is primarily the focus of part one as she is reluctantly paired with Rexx (Gyles Brandreth), an agent of the Time Lord High Council, on a mission to Earth (“Oh no, no, no, I don’t do companions!” Ace protests, much to the listener’s amusement). In part two, the limelight is shifted to Romana’s presidential aide Lukas (Scott Arthur) as he uncovers an age-old conspiracy on Gallifrey (long-time listeners of the Gallifrey saga will recognise that Arthur played an alternate version of Lukas in Gallifrey V and VI). Part three sees Narvin journey to Stone Age Earth to recover Ace and uncover a cult with links to the conspiracy occurring on Gallifrey. In the process, Narvin becomes aligned with huntress Sol (Rachel Atkins) and boatman Min (Toby Longworth). Considering he ought to have gained a better understanding of primitives from his adventures with Leela, it is amusing to hear that Narvin is equally out of his depth with Sol and Min!

The gang comes together in the last episode as Romana takes charge and she and Lukas are reunited with Narvin and Ace in a confrontation with an ancient Time Lord foe whose machinations threaten the universe itself. Until this point, Juliet Landau’s portrayal of Romana is rather dull and underwhelming, restricted to the character’s presidential duties and diplomacy. Indeed, whether it is down simply to Handcock and Llewellyn’s dialogue or simply that this version of Romana is meant to be more cautious than her previous selves, Landau’s performance is at times almost monotonous. There is certainly none of the humour and mischief that she exhibited as Romana III in banter with Romana II in Gallifrey VI or indeed the naivety and haughtiness she displayed in relating Romana I’s story in Luna Romana. It is a surprisingly flat portrayal. It is only when faced with the serial’s antagonist that President Romana (and Landau herself) really rises to the moment.

If you’re still uncertain who or what the menace of Intervention Earth is, then read no further. However, if you’ve spied the cover artwork for the release, then the helmeted figure in chainmail armour and flowing robes will be unmistakably familiar to 99.9 per cent of long-time Doctor Who fans and BF listeners. The villainous Time Lord pioneer Omega only made two appearances in Doctor Who on television but left an indelible mark on the mythology of the TV series. From the picture book K9 and the Time Trap in 1980 (which called him Omegon!) to children’s and adult novels (Search for the Doctor, The Infinity Doctors), and from comic strips to Big Finish’s own audio range, which released the self-titled Omega in 2003, the character’s life outside the TV series is as seemingly infinite as his ego. Despite the masterstroke casting of the original actor Stephen Thorne (who is himself a Doctor Who monster alumnus, dating back to 1971), Omega’s involvement in this story is less overt than expected. Considering what a magnificent voice Thorne has for Omega (his commanding voice reminds you why in The Three Doctors it was so pivotal to an entity whose will was all that remained of his being), it is disappointing that his encore performance is so limited and wasted. However, as you discover in the closing moments of the serial, Omega’s role in the plot has been subtly and cleverly all-pervading – and we haven’t seen the last of him ... Whether we will hear Thorne’s booming and authoritative tones again, though ... I guess watch BF’s space. At the very least, Thorne deserves another opportunity to shine.

The conclusion to Intervention Earth is open-ended and the listener is literally left hanging. With the serial’s chief antagonist on the loose, the serial ends on another twist, as another familiar figure (missing since the events of Gallifrey IV) makes a surprise entrance. Whether this figure’s return is a blessing or a curse remains to be seen. What is also not equally clear is whether the next instalment – Gallifrey: Enemy Lines – will address some of the ramifications of Intervention Earth. With further details scarce at the time of writing, Enemy Lines appears to predate Intervention Earth, as Lalla Ward and Louise Jameson will reprise their roles as Romana II and Leela, supported by Narvin and Ace. Of course, perhaps there may be a link – or the cliffhanger to Intervention Earth will be resolved in an entirely different serial at a later date.

That said, perhaps Enemy Lines will address some of the other hints that are dropped in Intervention Earth about both Leela and Ace. Dialogue in the serial implies that Romana and Leela will have a falling out while Ace remarks that she cannot remember any more how, when and why she came to Gallifrey. While various other BF Doctor Who audios (such as Thin Ice) and the New Adventure novel Lungbarrow have previously provided explanations of how and why Ace may have settled on Gallifrey, perhaps there is a fertile plotline here for future chapters of the saga. Ace certainly proves to be susceptible in Intervention Earth ...

If you overlook Handcock’s imprecise comparison to 24, Gallifrey: Intervention Earth maintains the high production values, artiste performances and scripting of its predecessors in the Gallifrey series. While the “regenerated” format and structure are hardly revolutionary, and the decision to set the story later in Romana’s life and presidency is not as intriguing or refreshing as it initially seemed in all the pre-release publicity, there are still signs that the Gallifrey saga is heading in the right direction and that there may still be some interesting twists in future releases.

Written by Nev Fountain, Una McCormack, Guy Adams, and James Goss

Directed by Scott Handcock

Starring: Lisa Bowerman (Professor Bernice Summerfield), Sylvester McCoy (The Doctor), Sophie Aldred (Ace), Nicholas Briggs (The Daleks), Sheila Reid (Claire), and Terry Molloy (Davros)

Big Finish Productions – June 2014

The release of the box set Missing Persons in December 2013 seemed to bring the long-running audio adventures of former Virgin New Adventures companion Professor Bernice Summerfield to something of a conclusion, albeit a not entirely satisfying one for this listener. However this new boxset of four episodes which each dovetail neatly to form a very satisfying overall arc is very much a start of a new phase for Bernice or Benny as she prefers her friends to call her. Unlike the previous range of Boxsets which still carried a large amount of continuity baggage which Benny had accumulated over the course of the previous decade of audios, this set has dumped the other regular characters and presents us simply with an older version of Bernice who we are occasionally reminded has a family and friends. Unlike 2011’s Epoch, this really can be recommended as an ideal jumping on point for anyone who hasn’t heard any of the previous audio adventures. This set also sees her reunited with the Seventh Doctor and Ace with whom she travelled in the Virgin New Adventures novels two decades ago. However, it is Bernice who is the main protagonist throughout this box set with her erstwhile companions only making their presence felt at key intervals. Kudos then is due to Lisa Bowerman, who has been playing Benny on audio for 16 years now for making her such a continued joy to listen to.

The set opens with The Revolution by Nev Fountain. This is very much a comedic piece in the mould of some of the more whimsical of Benny’s past adventures opening with her getting drunk in a bar on the planet Arviem 2. The introduction into the preceedings of Sylvester McCoy’s Doctor, who has apparently lost track of both his TARDIS and mind leads to a number of comic mishaps which may grate a little on first hearing. Fountain later observes in the CD extras that even the Doctor has the capability to just be an annoying man in a hat sometimes although those who are not fans of McCoy’s more season 24-esque performances are duly warned to expect occasional over the top silliness. However the conclusion to the story seems to justify the means to which it is arrived at and so Benny is duly dispatched to search for Ace.

Goodnight Sweet Ladies by Una McCormack is possibly the highlight of this whole boxset. Pitching Benny into a situation where she ought to be at home and yet the reality of what’s really going on reminds just out of sight until it’s too late. The two guest stars for this story add to the atmosphere. John Finnemore is a genuinely likeable if somewhat useless companion but just as she has done on TV as Clara Oswald’s Gran, Sheila Reid steals every scene she’s in as the mysterious Claire whose role is central to this story.

Next up is Random Ghosts by Guy Adams. This changes the pace quite dramatically as Benny is reunited with Ace on the Forbidden World where time is not running correctly. The device of events jumping around in time is not a new one for audio plays but it certainly seems some time since Big Finish last produced a play that did so this memorably (The examples of 2003’s Creatures of Beauty and 2004’s The Natural History of Fear come to mind). Some listeners may find the continual jump cuts between scenes and varying outcomes of conversations slightly hard work but the conclusion is a worthwhile one and despite seeming obvious given the clues we’ve had previously still manages to seem surprising at the same time.

The set concludes with The Lights of Skaro by James Goss. Whilst this set has been very much centred on Benny, this final story pitches her firmly back into the world of Doctor Who with Daleks around every corner and even a fleeting cameo from Davros. There are some clever revelations and if you’ve survived some of the topsy-turvier moments of the first three stories you’ll be well rewarded in this finale. Possibly the best thing about this set is that is has allowed some fresh storytelling from writers who are not regulars at the Big Finish stable. It is to be hoped that this new phase of Benny’s return to the worlds of Doctor Who will continue for the foreseeable future under new range producer James Goss (whose track record includes having produced some great audios for the BBC Doctor Who and Torchwood ranges). This listener is very much looking forward to The New Adventures of Bernice Summerfield Volume 2: The Triumph of Sutekh.