"They made me an offer I couldn't refuse -- unlimited funding to pursue and recover one of history's greatest antiquities...the Swords of Kali, the ancient Hindu goddess of death and destruction."
- Tiger Maratha speaking to the Doctor in a holo-recording .

More beautiful imagery, elegant plotting and effervescent dialogue is on hand to delight all comic book fans in the second instalment of this continuing adventure for the Doctor and Clara. As the action opens the TARDIS crew are in the same location on planet Earth but not the same time zone. And both have much to deal with - not least danger, conspiracy and some mythical artefacts.

As in Part One, there is plenty of good character work achieved for two very different but equally fascinating female guest characters. Rani the warrior had shown her considerable fighting prowess and stealth in issue three, but now the reader has a chance to see what makes her tick on a more personal and emotional level. Her pairing with the Doctor - who has time-travelled by means other than TARDIS - is very well done and affords a look once again at how Capaldi's incarnation is able to show many different attributes depending on the inter-personal dynamc presented to him.

Priyanka Maratha has only just lost her father Tiger, and is by no means used to such hi- adrenaline exploits. An onslaught of six-limbed monstrosities without pity is almost too much to bear, but with help from Clara she is able to escape. However a terrible price is paid which affects all ensuing events. Later on Priyanka is privy to the holo-recording intended for the Doctor, as she discovers her father's true motives for his high-risk explorations all across the Earth. The wish to know the real inspiration behind the Thugee Cult is one of those driving forces.

The artwork continues to be of the highest calibre and leave impressions of themes and emotions as well as locations host to many incredible treasures, murals and sculptures. The addition of Mariano Laclaustra (who provides inks) only enhances what was already strong work from Dave Taylor in earlier editions. Characters are well-drawn, with distinct mannerisms and energy levels, and the colouring too is very impressive at times. Thus remarkably thorough detail is conveyed.

The likeness of Peter Capaldi never slips, which is boosted further by wonderful Doctor dialogue featured in most of his panels. This mimicry element is rather more of an issue with Morrison's other Titan Comics story featuring the Tenth Doctor. I do however think that Jenna Coleman's appearance is not the easiest to translate to the 2-d format, and at times it feels like a female relative of the Coal Hill School teacher is having a turn at substituting for her.

The story is also paced expertly and while there was potential to wrap things up with a 'rabbit out of the hat' move by the Doctor come the latter pages, instead there is a further development that throws the scenario into a whole new stratosphere. Most cliff-hangers to comic books are well-designed - if understandably concerned with bringing repeat business - but this particular hook is truly a subversion of expectation given the previous action and yet is comfortably familiar in putting a hero into peril.

This is a Doctor Who story up there with the best of the franchise in making clear its inspiration, with a certain Indiana Jones being present at least in spirit if not in actuality. And as much as the threat facing humanity from the powerful 'Indian dynasty' in times future and past conveys the suitable gravitas, there is a strong sense of fun and optimism that also pervades. How the Doctor deals with the malignant Scindia will certainly provide for riveting reading in the near future.

Bonus Humour Strips: AJ this time employs a single panel to tell his "Ebbing Tide" story. Meaningful exploration of the TARDIS crew's latest destination is rather limited, and provokes a session of bickering (as we have become accustomed to with them!) The Doctor's fob watch is proudly on display, although Clara is quick to point out the watery threat it faces.

“The Inversion Of Time” written by Colin Bell and drawn by Neil Slorance is another fine effort focusing on time distortion. It brings to mind the full-length Eleventh Doctor story from a couple of months back but is rather more easy to grasp given that it takes place in the TARDIS console room only and features just the main characters.

This most recent release in the ongoing series by and large continues the good work of beforehand, if at times showing the odd weakness or two. Before discussing the four stories I must criticise the reworking of the main theme tune. The original was quite serviceable for me, if not really up there with a true classic tune (such as BBC Radio's 'The Hitchhikers Guide to The Galaxy' or 'The Lord of the Rings'). All the less pleasing element of the piece seem to have been emphasised and the pitch change just wasn't for me.

Nonetheless the series opens with an absolute belter of a paranormal yarn. 'Changing Of The Guard' allows the London setting of the mid 1960s to really be used well. A bunch of low-life criminals are managing to use some rather disturbing methods that are not of 20th century Earth to outwit the authorities, and the team of Group Captain Gilmore, Ms Jensen and Ms Williams are once again having to use all their experience to cope. Drama is also firmly centred in a trial - during which Sir Toby is put under a most unforgiving microscope and has to use all his mental skill to secure a positive verdict on his conduct. Sound effects are done splendidly throughout and the plot kept me guessing without ever getting too clever for its own good. I really welcomed how the main threat to the public was resolved and the increased focus on Allison, which turns out not to be a one-off in this box-set.

The writing is decent in 'The Concrete Cage' but something is just slightly missing for this to be called a success. The setting is not a bad one in-of- itself. Just as 'Quatermass' has inspired the earliest stories in this spin-off series, once again a Nigel Kneale work ('The Stone Tapes') gives rise to a story. Something has gone awry in a tower block and people seemingly suffer even after their natural demise. Rachel is given the most meaningful involvement of the core cast, but this does not mean that anyone is left out for long. The problem for me lies in the tepid use of the guest participants. They are certainly not helped by some hoary old dialogue that just really grated when I was trying to connect to their individual stories. Justin Richards is a very experienced writer, but some examples of his work speaks to me more than others.

Also whilst I have enjoyed seeing Michael Troughton in some television roles over the years, he really isn't given the most appealing character to play - even if this is the actual intent. The final scenes are also presented in a somewhat blasé manner and consequently the impetus of the story just never quite materialises. The inferior theme tune is sadly not alone in this outing either, as inharmonious electronic stings diminish the listening experience. However I am sure that this story has something to offer for those fans that like claustrophobic tales full of psychological horror. And it certainly outperforms the troubled Seventh Doctor story 'Paradise Towers'.

'The Forgotten Village' is perhaps the strangest story of the run in both structure and what it chooses to do with the cast. It still impresses through brave decisions as well as dialogue that feels very true to the heart of the main participants. The village setting sees much back story and revisiting of past loved ones, as well as the expected dosage of very odd goings on that need the best expertise Britain has to offer. Alison's father (celebrated 'The Archers' star Tim Bentinck) is given a lot of focus as he suffers poor health, but worse is to come. Alison is front and centre as the place where she spent her youth is succumbing to a bizarrely dangerous turn of events. Appropriately enough, Rupert Evans (of BBC prime time TV drama 'The Village') features in this effort, and is equally as strong a presence in this audio format.

Just as this box set begins on a positive note, it ends even stronger, as 'Unto The Breach' moves various pieces on the Cold War chessboard and then throws a game changer or two for good measure. East Berlin sees the bulk of the meaningful action, as the team must try and see if an alien really has been at work - and for the benefit of the Iron Curtain regime. Shades of grey have never been more indistinct as characters that seem benign are something else entirely. Picking up what it needs to from story three, the listener is entranced into discovering just who will be affected and to what extent. I was happy to note that the multi-talented George Layton featured in a good guest role as Lehne, and indeed there is not a false note struck by anyone who contributes to this thriller.

Looking at the overall sequence, Sir Toby doesn't get quite the same character growth of the last series, but is still utterly charismatic and engaging. Instead this is the time for Allison to truly come into her own as she takes more initiative and shows the ability to make strong decisions without being cynical and world weary. Karen Gledhill is a very likeable personality both in character and in real life, and it was high time she was given some more prominence.
However there is enough decent material for both Gilmore and Rachel, and also a continuation of their growing bond with each other, whilst still throwing in some obstacles. The team certainly know how to prevent this arc stumbling into a predictable state. Sir Toby is not always the focus for anger that he once was by those in his team, as Templeton now begins to really display his manipulative traits to quite overt effect. But more importantly, come the last two stories, two regulars are put in dire straits with little chance of a reprieve.

So when all is said and done, this is a solid quartet, with two of the best stories so far, a brave effort that works well enough, and a rather more average entry that still at least feels relevant to the series overall.

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The bonus documentary once again merits full attention, and manages to be at least as entertaining as the actual stories. There is plenty of teasing banter, camaraderie and thoughtful reflection - including from the guest stars, some of whom are called upon to perform multiple characters. The decision to let certain cast members go into comprehensive detail over their character profile and the logistics of making the show (e.g. how audio recording differed from tv work in flexibility and attendance demands) leads to some sections being more substantial and meaningful than others. I must assume the interviews were done so as to develop as organically as possible, and then editing choices were made to fit the obligatory time limit. In any case, the regulars themselves again all provide good insights into their approaches to their role which both confirm what listeners are taking away from the stories, but also allow some interesting insights that may not have been obvious at first. And finally, the rationale behind how the creative team choose to end this series with more questions than ever before ensures that the wait for this July and Series 4 is a rather fraught one.

New problems face the TARDIS quartet as they stumble upon a considerable threat to Earth. The war between the Amstrons and the J’arrodic is leaving a deadly impact on the Doctor's favourite planet. Airlines are unable to get off the ground and a toxic smog is suffocating the atmosphere. UNIT also appear to have their resources rendered null. Can the Eleventh Doctor avert disaster without too much fallout along the way?

One of the more epic stories offered up so far by the series' creative team(s) ensures that there is plenty of spectacle. A horde of futuristic ships are positioning themselves in proximity to Earth. Whilst televised Doctor Who did sometimes meet this level of ambition, it is always a surefire idea in a well-constructed comic book. Also enticing is the visualization of the Doctor and his team having to somehow travel with makeshift jet packs in order to reach their objective
Continuity both from the parent TV shows and from earlier issues is markedly strong here. In this encounter the Doctor follows up his brave head-attire of fez and Stetson with an aviator hat and goggles. We also get the well-remembered catch phrase of "Geronimooo.." prompting a variation from Arc when the protagonists have to make a thrilling leap. And for the second story in a row, Jones suffers a major threat to his survival; yet the real shock is left for the cliffhanger ending that brings part one of this two-issue tale to a close.

To get more background on Alice through her returning home proper is something which feels strong and organic, given the previous work done on her character arc. And in some ways the adventures she has had far away in different time zones have been less demanding than the stone cold realities of her home life struggles. With her being left to cope on her own, as her friends have their latest mad-cap hi-jinks, a major game-changer catches her completely unawares. It may well be the work of the mysterious being that appears to be another survivor of the Time Lord race, but there is no confirmation forthcoming still.
Yet somewhat disappointingly, and given the strong foundations laid for Alice in issue one, she is soon shunted off-page ..until the final story beat. I enjoyed the Doctor's various action scenes but they could have been compressed without losing the crucial element of joie de vivre that make Doctor Who such a personal favourite of so many.

But overall the actual plot is quite engaging and allows the usually forward-looking Eleventh Doctor to show his regret over the catastrophic Time War. Matt Smith was always capable of shruging off the clownish exterior to display vulnerability and cold rage, and it is good to have some reminder of just why the whole franchise is so enduring. We care about the Doctor, and his struggles to keep going on, when so many of his friends cannot join his 'walk through eternity'.
The nominal 'villains' in this story are also well-done. In contrast to the endless battles that pitted Sontaran against Rutan or the Kaleds against the Thals, this particular conflict needs a resolution of a very different kind. Due to its endless length, the actual beginning of the conflict and its context are long-forgotten. All that remains is the underlying desire to avenge the countless lost in combat.

Just as with 'The Weeping Angels of Mons' we have a returning writer - Williams - joined by another new artist. For the tone of the story concerned, Warren Pleece’s work is a strong effort. He is able to supply both believable facial expressions and explosive action moments aplenty. I did find Jones just a touch too different in build to the versions presented beforehand, but otherwise the TARDIS crew gets a very good showcase of their individual personas and mannerisms. And the colouring work that Hi-Fi continues to provide for these stories ensures that both new and returning readers are unlikely to lose interest easily.

Bonus Humour Stories: Once again AJ supplies readers with the opening sketch. This very much does as it says on the tin, as a 'Rebranding Exercise' manages to wrongfoot the Doctor by replacing one enemy with seemingly another in the blink of an eye.
Marc Allerby hits the bullseye yet again with 'An Adventure in Brine and Plaice' Although the Doctor is in every panel, this is very much River Song's story, and comes to a head with her facing another 'impossible' trap to overcome. Furthermore the return of a Second Doctor-era monster is a nice bonus for Classic Series fans and reminds us of Matt Smith's original 'homework' when he went about creating his own version of the Time Lord.

After a chilling pre-titles sequence set mere weeks into the First World War and featuring a pair of young British soldiers, this new story picks up again several years on during the Battle of the Somme. The Tenth Doctor and Gabriella Gonzalez are seemingly thrown into an all too familiar and haunting source of peril - following their somewhat bizarre first two escapades together. The TARDIS is quickly put out of commission by one of the more potent forms of artillery available in the early 20th century, and the Doctor sustains an injury that forces him to rely on his young friend's initiative and bravery. Although they manage to stay on the side of the battle where the British have control, their presence as casually dressed civilians is naturally viewed with suspicion. But the military trial system is the least of anyone'sworries as a terrifying foe that operates on time itself has come back to haunt the Doctor once again. 

The creative team has an overhaul in this new multi-part story for the Tenth Doctor and Gabby. Robbie Morrison who has been behind the recent Twelfth Doctor stories now gets to show his creativity with the iconic former incarnation of the Time Lord. Artist Daniel Indro makes his debut for Titan's Doctor Who line; his track record including famous characters 'Sherlock Holmes' and 'The Green Hornet'. For those drawn to this edition by the superlative cover it is worth clarifying that Tommy Lee Evans is the person responsible, but the overall standard in the main content is by no means inferior - just markedly different in style. 

Some enemies from Doctor Who are made just as intimidating in comic strip form as they in the parent TV format. I believe the Weeping Angels are one such successful translation. The sudden change of expression from any given panel to the next being distinctive and imposing. Even to this day they are arguably Steven Moffat's finest villainous creation. Just to recap on their unique style: a simple touch from any of the stone statues is enough to send a person back in time to live out the rest of their life, but sometimes in a manner which makes that remaining lifetime a cruel form of imprisonment. There is also the certainty that the victim never gets to meet anyone they cared for again in their 'normal' lifespan. Doubly obstructive is the Angels' capacity to turn to impervious stone when being observed, with any 'blink' allowing them to advance so much faster than a normal sentient being would in that fraction of a second. 

But while it is good to have the Angels back, it is somewhat more jarring to have such a change in style after two very successful stories that balanced darkness and light ably. This story is incredibly grim, and while that may be appropriate for the dark time that was the Great War, there is not even some black humour included as a concession. Some of the minor characters are not drawn terribly well and seem rather overshadowed by the premise and the setting. Still, the first person narration from Jamie - a British corporal - makes him by far the best original guest character. He seems astute enough to bond with his fellow soldiers and know their key attributes. Captain Fairbairn is serviceable also, if a little too routine in his mistrust of the Doctor and Gabby. Perhaps there is something more to him though that later instalments can offer? 

Another difficulty lies in distinguishing one uniformed character from another. There is not enough in terms of different builds or facial expressions at times. However, this is just the first instalment of four and perhaps this will be remedied as the plot allows for more back-story and idiosyncrasies to filter in. I also was a bit confused by the rather spiky dynamic between the Doctor and Gabby - which perhaps hints at some further story, or altercation in the TARDIS, which preceded these current events. But the cynic in me reckons that minimal communication between prior scribe Nick Abadzis and Morrison is just as likely. 

Despite all this, the reader is provided with a strong visual work overall, with backgrounds being consistently good, and the colouring suitably grey/brown for the most part. There have been better opening entries in the Tenth doctor series and also the other two Titan Who lines, but I cannot deny the potential for this story to go places and do something special. I have always been interested in historic wars, and regarded the Weeping Angels as first rank adversaries. With a bit more tweaking and clarity this story could still be one for the ages. 

Bonus Humour Strips: Rather in keeping with the main feature, these are just a touch below-par this month. 'To Heck and Back - Part Two' by AJ takes the decent opening and goes a little too far in defusing the original tension that featured when the Doctor took on the 'Beast' with the power of voice alone. The demonic entity seems to have morphed into a rather cuddlier type of alien and barely manages to make a dent when replying to a supremely confident Time Lord. The story ends up feeling pointless, and lacking the right brand of satire. 
The latest 'Rose By Any Other Name' - from writer/artist Rachael Smith - has still enjoyably vibrant art and a truly lovable feline protagonist to rival K9. But the conceit that this cat would liken human being Rose to any type of household pet simply evokes a raised eyebrow rather than a chuckle.

Peri (confused): A Time Lord! But that means ... No, you can’t be!
The Rani (satisfied): So you do know me, after all! I knew you would. Spit it out, girl! I can see it’s on the tip of your tongue!
Peri (in horrified realisation): The Rani!
Peri and the Rani, The Rani Elite

It is a little ironic that the release of The Rani Elite occurred only a month after the broadcast of Dark Water/Death in Heaven, the two-part finale in Doctor Who’s most recent TV series. The revelation that Missy was a female incarnation of the Master invited vast debate in online forums by fans, with some decrying the Master’s gender swap and others praising it. Those who opposed it in particular bemoaned that it would have been more “logical” if Missy had been another former Time Lady nemesis the Rani, particularly as the uploading of dying minds into the Nethersphere was apparently more in tune with the Rani’s modus operandi.

Realistically, there was never any chance that Missy would have been the Rani. This is because the Master is the most well known foe after the Daleks and the Cybermen to audiences of the modern series. If Missy had been the Rani, the modern audience’s reaction would have been “Who?” or “Huh”? As much as long-term fans may dislike this answer, it’s really as simple as that. The Rani featured in two stories in the latter years of the classic TV series – not least in an era when the show was in decline and maligned by the BBC, the audience and some fans alike. She certainly didn’t leave such a lasting impression that she deserved to be Missy. (Yes, the Rani has been in plenty of other Doctor Who spin-off fiction over the years and even the 30th anniversary short Dimensions in Time but again that’s not enough of a CV to impress a modern viewing audience!) There are plenty of other Time Ladies, notably Romana and Susan, who could have also been just as entitled to be Missy if the Doctor Who production team hadn’t been bold enough to make her the Master’s latest incarnation.

Fans of the Rani will simply have to settle for The Rani Elite as a consolation prize. The one thing in this story’s favour is that Big Finish has finally revived the character for audio; indeed, after 15 years of holding the Doctor Who licence, it’s surprising Big Finish never brought the Rani back sooner. Siobhan Redmond, best known for television work such as The Bill, Between the Lines and Holby City, has succeeded the late Kate O’Mara in the part (she is only the second actor to play the Rani, albeit the third Scot to play a Time Lord/Lady in the last year, after Peter Capaldi’s Twelfth Doctor and Michelle Gomez’s Mistress). It is also fitting that to herald the renegade Time Lady’s return to the Doctor Who universe, she is pitted against the original TARDIS team that she fought in 1985’s The Mark of the Rani: the Sixth Doctor (Colin Baker) and Peri Brown (Nicola Bryant).

In The Rani Elite, the Doctor and Peri answer an invitation to the CAGE – the College of Advanced Galactic Education – where the Doctor is to receive an honorary degree in moral philosophy that even he’s not certain about but he anticipates is “well deserved!” Deliberately arriving a day before the ceremony, it isn’t long before they discover that someone is conducting unethical medical experiments on some of the CAGE’s brightest students, in the process substantially altering their personalities. It soon becomes clear that the galaxy’s foremost authority in moral philosophy Professor Baxton isn’t whom she seems and her plans for the Doctor are not as benevolent as an honorary degree.

While the premise I’ve described is actually quite intriguing, it is dependent on the listener knowing as little as possible about the story for it to be effective. Unfortunately, it is all too predictable from the start because we know from the title that the story features the Rani; further, there was much publicity about the character’s revival and Redmond’s casting from Big Finish five months before the serial’s release. As a result, any opportunity for genuine surprise or twists is lost. Imagine how more effective the story would have been if it had a less revealing title and Redmond’s casting had been kept secret (she could have been credited simply as Professor Baxton on the CD sleeve) until the episode one cliffhanger. This would have been genuinely surprising for listeners and made the story far more engaging. The problem with knowing about the Rani in advance is that you’re then second-guessing exactly what her latest scheme is (and in this reviewer’s case, it didn’t take a lot of guesswork at all).

By comparison, Big Finish should have taken a leaf out of the book for one of its earliest Doctor Who releases over a decade back. The 2001 serial Dust Breeding marked the return of Geoffrey Beevers as the Master with little prior fanfare, making it a genuine, astonishing twist for long-term fans upon the first listening. To this day, it still remains one of Big Finish’s masterstrokes and brilliant cliffhangers. The only announcement at the time of that release which seemed significant was that Beevers was a guest in the story with his late wife Caroline John, presumably as a new character. To have revealed that Beevers would have been playing the Master would have ruined the tale – and the experience of not knowing who the villain was.

As a result, by revealing its trump card so early, The Rani Elite also lacks a major twist to the plot. In the two previous releases – The Widow’s Assassin and Masters of Earth – there were at least some unpredictable turning points to the tales that kept them ticking along and maintained the listener’s flagging interest. The Rani Elite is largely run of the mill from the moment the Rani reveals herself at the episode one cliffhanger, as the major characters get caught, escape, get recaptured and escape again.

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Rather ironically for those fans that would have preferred Michelle Gomez had played the Rani on television, the Rani’s agenda (spoilers!) is eerily similar to Missy’s and certainly consistent with her grand plan in 1987’s Time and the Rani. It doesn’t matter that the Sixth Doctor is effectively encountering the regenerated Rani out of chronological order (for the Rani, these events occur post-Time and the Rani) because while we know the Doctor himself isn’t specifically threatened, Peri’s fate, occurring as it does after her muddled departure on television, is now much more open-ended. Indeed, for a while, you are left seriously wondering if Peri is still destined for a tragic end. After all, in this loose trilogy of Sixth Doctor adventures, Peri has been subjected to no small amount of repression by unconnected malevolent forces. In The Widow’s Assassin, we learnt she spent five years under the thrall of a mind parasite whilst Queen of the Krontep, and in Masters of Earth, upon her first trip back in the TARDIS, she was infected by a Varga plant and started to undergo a physical transformation into a Varga herself. In The Rani Elite, Peri finds herself again subjected to mind manipulation, a prospect that naturally terrifies her after the events of 1986’s The Trial of a Time Lord, and Nicola Bryant convincingly portrays that terror.

Once again, Big Finish’s sound effects and a strong cast help to paper over some of the cracks in Justin Richards’ script. Siobhan Redmond does Kate O’Mara’s memory justice in her portrayal of the Rani, faithfully continuing O’Mara’s original rendition of a highly intelligent, ruthless, amoral and calculating scientist with a superiority complex. In fact, were it not for the Scots lilt in Redmond’s voice, her portrayal would be almost indistinguishable from O’Mara’s performance.

Redmond’s interpretation is also a vastly different one to that of Gomez’s Missy – the Rani has none of the Master/Mistress’ megalomania and vindictiveness, she is simply cunning and matter-of-fact. She is a scientist that is dedicated to seeing the results of her experiments through to the end, whether by fair or foul means. She doesn’t necessarily enjoy killing or inflicting pain but she’s not squeamish about either, as she clearly demonstrates over the course of the story.

Colin Baker’s Doctor, of course, is the perfect sparring partner for Redmond’s Rani, someone that is at least her equal on an intellectual level (the Rani, of course, considers herself the Doctor’s superior, resorting to the insult of “Double Gamma” to make her point!). Baker, as ever, delivers a commanding performance but, as in Masters of Earth, injects plenty of humour into the dialogue too, eg:

The Doctor (to the Rani): And it’s a good job I did turn up early!
Peri: In time to thwart your plans!
The Rani: Thwart my plans? You must be a devotee of the cheapest forms of melodrama!
The Doctor: Forgive her, she’s American!

The younger members of the cast also deliver strong performances throughout the story. Becky Wright delivers a fearful, sympathetic turn in the first episode as Lizzo, one of the students at the heart of the Rani’s unethical medical experiments, while Charlie Morton (Reev) provides a slimy underling for the Rani and Mike Noble (Miklev) able back-up/moral support for the Doctor and Peri.

Ultimately, The Rani Elite, while full of promise, is a “by the numbers” Doctor Who tale. It is not only a weak serial in its own right but also the weakest link in a trilogy of Sixth Doctor stories in the last three months that have all been of mixed quality. All the serials have had some good ideas to recommend them but the stories have often been found wanting. This is a pity, as Colin Baker and Nicola Bryant have been fantastic in all of them but there hasn’t been enough character development between the Doctor and Peri that reflects their rekindled friendship after the traumatic events of The Trial of a Time Lord. The return of the Rani also under-delivers in its promise but there is certainly potential for the character to be reused and for Siobhan Redmond to stamp her authority on the part. Another round between the Rani and the Doctor and Peri, as well as encounters with other Doctors, ought not to be out of the question but Big Finish needs to conceive stories that will make the villain’s future appearances memorable and exciting for the listeners. In other words, more focus on the scripts, and less attention to the publicity.

 

Big Finish have done a sterling job of recreating and complementing eras of classic Doctor Who over the years, be it new full cast adventures for classic TARDIS teams or the more stripped back Companion Chronicles and Lost Stories, often using the medium of audio to expand the scope and defeat the on-screen budget issues of the TV series. Often these tales are respectful riffs on a bygone era that go off in different directions, or shade in character development of the type that you’d see in the modern series. Perhaps it's the version of Classic Who you think you remember.

The Romance of Crime is different. Skilfully adapted by John Dorney from Gareth Roberts’ classic Missing Adventures novel (Scarily, twenty years old this month, where does the time go?), and reuniting the Fourth Doctor, Romana II, and K9 for the first time since 1980, it goes one better. It's not just a strong evocation, or a clever riff on an old idea. It is Classic Doctor Who. It’s as if someone taped Doctor Who on Betamax in 1979 but the picture on the ancient tape was lost to drop-out, leaving the soundtrack intact. Roberts has a particularly strong affinity for this era - this story forms part of a box set with Dorney's dramatisation of another of his classic novels, The English Way of Death.

The story itself could be a period script by Douglas Adams or David Fisher, directed by Michael Hayes. It has an artfully Dudley Simpson-esque score from Howard Carter, a strong cast of supervillains, ne'er do-wells, preening artists, and inept detectives. The dialogue both zings and sings. Basically, The Romance of Crime would be on to a winner even if presented as a more modest audiobook. However, Tom Baker, Lalla Ward, and John Leeson, with solid support from Michael Troughton and Miranda Raison make this something extra special. 

This particular TARDIS crew has never reconvened before for TV or audio, for perhaps obvious reasons considering Baker and Ward were once married - but here they are, exuberant as ever, and sounding like they've stepped straight out of Season Seventeen. That spirit of '79 chemistry is still there, and Roberts' story both captures them to a tee and gives them all good material to get stuck into. Tom, in particular sounds like he's having an absolute blast. Any script that can pull off a scene where the villain captures the Doctor and tortures him whilst explaining the entire plot is doing something right.

The plot deals with shady goings on at the Rock of Judgement, an asteroid-based prison. The TARDIS arrives just as vengeful super-being Xais is resurrected and all hell breaks loose, with cockney gangsters and dim Ogrons thrown into the mix. Miranda Raison is excellent in the dual roles of Xais and Margo, the unfortunate officer on the Rock that Xais possesses. Xais is a well-drawn villain, played by Raison with strong hints of Eldrad from The Hand of Fear. She's psychotic, with the rather nasty power to crush people to death with telekinesis, but is given a tragic backstory and a good reason to hate 'normals'. Elsewhere, Michael Troughton as cowardly artist Menlove Stokes comes very close to stealing the show in his scenes with Romana. The strong cast is rounded out by Marcus Garvey as hopeless, yet totally self-absorbed gumshoe Frank Spiggot, Graham Seed as the scheming Pyerpoint - and writer John Dorney, doubling up here as an Ogron and one of the Kray-esque Nisbett brothers.

Crime of the century. Go get it.