Written by Mike Tucker
Directed by Jamie Anderson

Cast: Colin Baker (The Doctor), Constance Clarke (Miranda Raison) John Savident (Pendle), Olivia Hallinan (Asta), Robbie Stevens (Boswyck/Raspak), Sam Fletcher (Rosco/Gabber), Joseph Kloska (Habrild), and Nicholas Briggs (Tanapal and The Daleks).

Big Finish Productions – Released November 2016

This month sees the welcome return of the Sixth Doctor alongside his latest audio companion L/Wren Mrs Constance Clarke, played with a perfectly clipped RP by Miranda Raison. This is actually Mrs Clarke’s fifth audio appearance to date but in a timey-wimey fashion this reviewer will be revisiting her first trilogy of adventures from last year at a later date.

This story sees the Doctor and Wren Clarke arrive on the idyllic backwater planet Strellin which has protected status but from which a signal is emerging which suggests that outside technology has infiltrated this primitive society. This has attracted the attention of the Galactic Census, who have sent assessors to investigate. The elder of the two assessors, Pendle is played by John Savident, who is still best remembered as Coronation Street’s Fred Elliot. Even without his regional accent there are still a few familiar mannerisms which add to the enjoyment of Pendle’s continual insistence in his own superior knowledge which rubs everyone up the wrong way. His trainee Asta is voiced by Olivia Hallinan whose many TV credits include Lark Rise to Candleford and the Torchwood episode Out of Time.

The four protagonists soon find themselves facing the monastic order of the Black Petal headed by the sinister Abbot Tanapal played by Nicholas Briggs alongside Robbie Stevens in the dual roles of Raspack and Boswyck, the latter of which becomes part of the team of protagonists. The title of this story means that it is of course not a surprise when Briggs gets to play his more well-known role as the voice of the Daleks. Despite having apparently beautiful new cases made of lead and stained glass (as illustrated on what has been one of the most eye-catching covers this year by Simon Holub), the Daleks have a sinister plan at work and have the monastic order very much under their control despite having to resort to primitive weaponry.

Mike Tucker, whose previous writing credits include Big Finish’s first ever Dalek story TheGenocideMachine, has provided a clever script which shows the Daleks at their devious best. As acknowledged in the behind-the-scenes interviews, the setting for this story owes a debt of inspiration to Vincent Ward’s original vision for Alien³ of a wooden planet inhabited by monks. Highlights include Constance’s unphased reaction when she meets a Dalek for the first time. Her “keep calm and carry on” attitude of pragmatism in the face of danger makes her a worthy new companion. Based on Constance’s adventures so far she is looking set to become the best Big Finish audio companion since the days of the much-missed Evelyn Smythe.

Overall, this is another extremely enjoyable addition to the Sixth Doctor’s long life of audio adventures which Colin Baker is clearly still enjoying. It also shows that there is still plenty of mileage to be gained on audio for the Doctor’s oldest enemies. With two more adventures for the Sixth Doctor and Mrs Clarke to follow in December, it looks like Christmas is about to come early.

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

                                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.

Starring: Katherine Kelly, Sophie Hopkins, Greg Austin,
Fady Elsayed, Vivian Oparah, Jordan Renzo with Ferdy Roberts

Writer: Patrick Ness
Director: Wayne Yip
Producer: Derek Ritchie 
 
Executive Producers: Brian Minchin,
Patrick Ness, and Steven Moffat  
Released Online (BBC Three)  - 19th November 2016

This review contains spoilers.

Its another conundrum to unravel for our gang of do-gooders, having been abandoned to unsupervised detention by Miss Quill. This is no normal punishment, however, as they have been cast outside space and time itself, thanks to the rift.  Remaining trapped in one room, they all feel mounting alarm. The view outside the door and windows is a blank void.

At first they wonder if a mysterious segment of an asteroid could be the means to their escape. It turns out the rocky entity forces their deepest, most heartfelt feeling to the surface, as one by one they clutch it in their palms.

Truth and honesty unchecked can be damaging, and so it proves as the ties of friendship are strained to their very limit. Relationships come under heavy, unexpected scrutiny, for respectively Charlie and Matteusz, and April and Ram. Tanya also is taken on a difficult emotional path in terms of her insecurities over being the youngest of the group.

It eventually becomes clear that someone must take a stance, even if the ultimate sacrifice is the only pathway. Otherwise, this group of five could be reduced to just the one lone survivor..

**

The premise of a bottle episode has been done many times before in television. In Buffy, one particular episode involved the main characters forgetting who they were, but once they regained their memories, their relations were drastically altered. This story somewhat echoes that plotline, and does similar work in germinating the seeds laid out in prior stories. Enough craftsmanship by the writing, acting and production teams is involved, however, to make this tale feel like it is both relevant to today, and to be heartfelt in the emotional journeys presented.

One noticeable difference between Detained, and all preceding Season One efforts, is that effectively the core narrative is told in real time. Charlie describes the ordeal they go through as lasting "forty-five minutes". But in that time, a lot of things a considerable sea-change has occurred in the relations they have with each other.

This proves that sometimes sound, fury, and visual effects are not always needed for making a drama show work. Believable and fleshed-out characters will always be vital for any discerning viewer. It is also a neat conceit that the enemy in this story was the ruthless survivor of a group of five, and at one point it appears the same outcome will play out with our lead characters. The series may have had some moments of tonal confusion - particularly in Nightvisiting - but it is very good at bringing across themes, and parallels between different characters and/or groups.

Mystery is often one of the best methods to make a work of fiction gripping. Patrick Ness certainly gets the balance right between exposition and speculation, as the quintet are able to piece together enough to clarify how and why events are unfolding. We never get the full details of why this is all happening. The enigmatic prisoner's original appearance, where he came from, and just what motivation and method applied to the many murders he committed; all this remains open to our imagination.

It turns out that the Prince of Rhodia is anything but an angel, despite his mild manners and awkwardness that on the surface. His willingness to kill all civilisation on Earth, and that only his romance with Matteusz holds him back, is rather alarming. One wonders if Quill is actually the most immoral one after all. Of course Charlie's Polish boyfriend is able to reassure him repeatedly, and this helps the group overcome their predicament. Some damage is done to their relationship in the short term with the 'confessions', but perhaps it will bode well in the long run.  

We also witness Ram's deep feelings for April, but how he senses she does not quite return those feelings on the same level. She has perhaps every reason to be cautious about a man in her life getting close to her and being trustworthy, given the way she and her mother suffered (and continued to suffer) through Hew's actions years ago. Indeed, some exposition over the horrific incident to befall her family features when April clutches the meteor.

I know I was not alone in finding the competitive footballer's match-up with the thoughtful violist something that came out of left field. Certainly their moment of physical intimacy in Episode Four was one of the lowlights of the show, and further made ludicrous by the juxtaposition with the Shadow Kin. There never was proper discussion of how Ram was able to move on from losing Rachel, who died in such a manner that she could not even be allowed a proper burial.

Fortunately this episode manages to make the romance feel engaging, and the performances of both Sophie Hopkins and Fady Elsayed continue to feel authentic. I appreciated how April and Ram have different attitudes to the past, present and future, and how that defines their chances of staying together. They also are responding rather differently to not being - in biological terms - fully human anymore. The viewer really is made to care that their union needs considerable work from both parties.

All of the regular main cast continue to impress. Certainly with Ness' best script thus far there is little room for anyone to have a bad day's work. But perhaps the most notable performance comes from Jordan Renzo as Matteusz. I had been slightly indifferent about the character, and indeed he had barely featured in the early episodes. Here though he has enough screen time to fully establish himself as likeable and engaging. Although for much of the plot it may appear Charlie is the least angry, it actually transpires that it is his lover who has more control in the pressure-cooker situation. Renzo shows a good range and seems to thrive on the stage like confines of the one room here, so hopefully the dynamism can be followed through in other stories as well.

A lot of good drama thrives on not taking itself stone cold seriously, and having undercurrents of humour, or even absurdity. This episode shows poise in achieving this delicate contrast. One highlight involves April moving the situation along by announcing she is going to pick up the prisoner/meteor, but undercuts it by asking if anyone will "stop" her, accompanied by a comical look on her face.

Another fine moment of levity: Charlie's limitations in coming across as an actual human teenager- through being transplanted into 21st century Earth by the Twelfth Doctor - are exposed when he does not realise that 'Narnia' is a fictional realm, and quickly guesses it is somewhere in Canada. There is also of course the subtext that they have been transported to another dimension, and time has progressed back on Earth in notably different pace to their own in the void.

A few minor issues hold Detained back from being a true masterpiece. The voice for the alien prisoner is serviceable in and of itself, but is just a touch too similar to how the Shadow Kin sounded. The decision to have the classroom lights flicker and the group cower under desks makes sense within the context of the storyline, but is one of the few moments that fails to really resonate as imaginative or notable.

Also, perhaps an opportunity was missed to have some more screen time for Quill when any given person who held the stone could be made to imagine her presence, relating to the influence she has had. Katherine Kelly is really impressing me, and reminds me of Michelle Gomez in being a villainess that can inspire some sympathy. 

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.

Starring: Sophie Hopkins, Greg Austin, Fady Elsayed, Vivian Oparah and Katherine Kelly. 
Written By: Patrick Ness
Directed By: Philippa Langdale
Released Online (BBC Three) - Saturday 12th November 2016

This review contains spoilers

As befits the first two-part story in Class, there's certainly an epic scope to this tale. The threat of genocide hangs over proceedings, with all of humanity about to fall prey to a bloom of exponentially amassing petals... unless this floral invader can be completely wiped out instead. At the same time, April and Ram are on a mission to defeat the King of the Shadow Kin. Either storyline would be compelling by itself, and in many other series the build up of petals would probably be enough to carry the main plot, but Patrick Ness ups the ante by cleverly intercutting between these two story strands before finally integrating them. 'Brave-ish Heart' also shows a spirit of parental inclusion by having Huw and Varun cross over into Corakinus's world as well as April and Ram. Consequently, it isn't just the teenagers who are taken out of ordinary Shoreditch life, as the wonder of the fiery 'Underneath' (perhaps unintentionally resonating with Stranger Things' 'Upside Down' realm) incorporates a cross-generational presence. Elsewhere, this episode feels insistently marked by Ness's ethos of inclusivity - for example, at a vital moment Matteusz proves crucial to events instead of somehow being placed as a supporting character (and he's given a sharp, smart line about his Polish identity too). And despite an escalating narrative threat, the show's creator-writer also finds time to sketch in more of Ram's cultural background, but without making an issue of it.

There is much to marvel at, even if there are occasional mis-steps. Personally, I didn't believe that Huw would simply wander off at the end, readily accepting April's wishes: this felt more like a character being made to do what the writer wanted to telegraph as the right thing. And for me there was also a tension between the dialogue given to April's mum at the episode's conclusion and the logic of storytelling; what we're shown here doesn't seem to entirely fit with the expressed sentiment that there was nothing "lesser" about her previous way of life. But Patrick Ness is highly alert to the pitfalls and problems of representation, and is actively trying to counter particular ways of responding to this storyline. Class is keen to impart its lessons without being misunderstood.

Dorothea, played with sinister precision by the always excellent Pooky Quesnel, tells us that the multiplying petals can't be destroyed by conventional means - hence the need for the Cabinet. Yet at one point we witness a smattering of petals on a car windscreen being squished like bugs. This visual image is a striking one, especially as blood squirts out, but it doesn't quite make sense in relation to the petals' alleged indestructibility. As their massed ranks grew and grew, I couldn't help but be reminded of Star Trek's infamous Tribbles, even if they were animal rather than vegetal.

Where the petals offer an offbeat, skewed threat, the Shadow Kin sometimes feel more akin to a generic fantasy race. Their realm is effectively represented, though I should note that the BBC's episode preview marked some of these sequences as "work in progress", so final heat haze effects and so on were probably still to be added. But the Shadow Kin really come alive in the moments where their portentous fantasy selves are undercut by a more everyday depiction - we hear a grumble of "teenagers!" when April and Ram's romantic interlude is interrupted, for instance. Too much of this comedic undermining would, of course, undo the Shadow Kin's 'warrior race' designation, but it adds tone and colour to what can otherwise feel like a programmatic image of villainy.

The previously alluded to "Governors" start to take on a greater role this week, and I wonder if we might actually encounter their collective before (or during) episode eight. As Coal Hill Academy has been taken over by a suitably shifty organisation, presumably one I. Chesterton is no longer involved. But the gradual emergence of this shadowy group presents Quill with a new set of possibilities, and Katherine Kelly again makes the most of her character's enforced ambivalence and caustic attitude. Mind you, the ethical weight of genocide isn't explored as much as I'd expected it to be, becoming more of a story calculus or an equation to be solved - who will commit genocide against who? - rather than an unsquarable circle or a morally impossible act. While Charlie anguishes over his Princely duty, however, Matteusz sees the situation rather more clearly, and even adopts one of the Doctor's key tenets.

'Brave-ish Heart' is a busy episode, always bristling with dramatic action and character moments. Tanya's impassioned defence of April and Ram is one such delightful instant, as is Ram's hilariously strained attempt to sound laddish. Setting in motion what promises to be a powerful story arc for Quill while revisiting Charlie and April's defining dilemmas from the opening episode, Class continues to more than make the grade.             

Episode One of Power of the Daleks is arguably the most important episode in the entire history of Doctor Who. So much was riding on the success of the story. Doctor Who would only continue if it was proved possible to replace the leading actor. If the audience could accept such a change then its longevity was assured. Even if it came off air for while it could always return, refreshed and updated. If the experiment had failed, if only William Hartnell was accepted playing the Doctor, then the series would wither and die, and would now be an obscure relic of the past.

Given it is such an important episode it is one that been viewed by relatively few people. The entire story has been missing from the BBC archives since the mid-seventies , just a few clips and telesnaps remain.  Which make it such a joy that the story has now been animated, allowing a whole new audience to relive the excitement of the original broadcast.

The story is very well written, as would be expected given it was written by one of the creators or the original series, David Whitaker. He uses the change of the main character to push the story along, with Ben and Polly as confused as to who this strange man is as many of the audience would have been. The conflicting signals work well. The Hartnell reflection is contrasted with the ill-fitting ring. Is this man really the doctor? The recorder can get irritating through. 

The first thing the new Doctor witnesses, outside the TARDIS, is a murder, which gives the team a focus and serves to push forward the story, with The Doctor being mistaken for an Earth examiner.  By far the most anticipated part of the story was the reveal of the Daleks. The tension is ramped up and we get our first view of the metal monster, glinting in the darkness, draped in cobwebs.

Patrick Troughton nails the character of his Doctor from the start. His performance is superb and you certainly feel the mystery and the impishness of the character. This man may not be the character we are used to, but he certainly leads the action, keeping everyone guessing as to his motives. Troughton was a superb character actor, at the top of his game, and it shows. 

He is well supported by the two companions, the first to witness a regeneration. Ben and Polly, played by Anneke Wills and Michael Craze are very underrated, by virtue of so much of their contribution to the series being lost. But they make a good team and you can sense the confusion of two young adults plucked from 1960's London and now witnessing their only friend changing before their eyes. 

The animators have done wonders bringing the story back to life. The project has been intense, with budgets tight and deadlines always looming, but Charles Norton and his team have achieved something special. Some characters are realized better than others. The older actors, with defined jawlines and rugged features, lend themselves to animation more than the younger members of the cast.  The Doctor is superb with the characterisation spot on. The planet Vulcan is eerie and mysterious with pools of mercury bubbling away.

Full marks too to  Mark Ayres for his heroic work restoring the soundtrack. It's difficult to believe the original source was a domestic tape recorder plonked in front of a domestic television. The dialogue is now crystal clear and Ayres has used the original music and sound effects tapes to create both a stereo and 5.1 mix. 

The announcement of a  colour version of the animated story is a surprising development, especially given Norton expressing his opinion that the story works best in Black and White. I suspect many fans will double dip and get both versions and if the colour version being more young fans to the delights of the Second Doctor, then it is a worthwhile investment. 

Overall the Power of the Daleks is a supurb story, and well worth adding to any Doctor Who Library. And who knows, if sales are healthy enough, this could just be the start.