“But it doesn’t happen that way ... The Daleks don’t get wiped out – not yet anyway! I was there when their schemes unravelled, when the people of Earth walked free ...”

The Doctor, Masters of Earth

Much like the previous release of The Widow’s Assassin – which carried a lot of baggage from the TV series about the eventual fate of Peri Brown – Masters of Earth is heavily influenced by a vintage Doctor Who serial that recently celebrated its 50th anniversary – The Dalek Invasion of Earth.

The 1964 serial marked a seminal moment in the series’ then short history – it not only resurrected a menace that had captured the imagination of a generation of young children only a year earlier but it was also the first time Doctor Who brought an alien threat close to home. The sight of the Daleks in the deserted streets of London and trundling around famous landmarks like Trafalgar Square and the Houses of Parliament undoubtedly left a haunting mark on the collective memory – and would create a template for later production teams to bring more alien threats to modern day locations. Many people over the years when they fondly talk about The Dalek Invasion of Earth have unconsciously channelled Jon Pertwee’s later remark that it is far more frightening to confront a Yeti on the loo in Tooting Bec than on a far flung planet.

However, barring the many iconic moments that the serial evoked in the viewers of the time and long-term fans of the TV series, The Dalek Invasion of Earth isn’t an especially great story. In fact, by modern day standards, the serial suffers from sluggish storytelling and padding (it could have been told in four episodes, not six), extremely clunky production values (not least the Daleks themselves, their pet Slyther and some of the unconvincing miniatures!) and some cringe-worthy acting from the wooden Robomen. Yet, in spite of all these shortcomings, the serial has had an enduring legacy. In addition to inspiring the second colour Peter Cushing film in 1966, The Dalek Invasion of Earth over the years has been revisited in plenty of Doctor Who spin-off fiction, some average, some awful and some jaw-droppingly extraordinary, notably  Nick Briggs’ two-part Lucie Miller/To the Death in 2011 for Big Finish. But I’ll come back to that one later ...

Masters of Earth therefore can’t really stake any claim to being a wholly original spin-off/prequel to The Dalek Invasion of Earth. But then again, the production doesn’t strive to be original – it’s plainly an unashamed love letter not only to the original 1964 serial but indeed to a majority of the 1960s Dalek tales (even the title is inspired by the famous boast a Dalek made in the TV serial). Much effort is made within the production to emphasise that the Daleks of Masters are the same models featured in the original serial (both evident on the sleeve artwork and Peri’s own description of the metal meanies in dialogue when she notices the satellite dish arrays mounted to their backs). The extermination soundbite also mimics their 1960s guns, not the more familiar sound effect of the modern TV series. Throw in the Slyther (the 1960s equivalent of the Silurians’ Myrka!), Varga plants (from The Dalek Masterplan) and elite squads of Robomen, plus a cross-country scenario that channels Terry Nation’s later apocalyptic drama Survivors, and you have the perfect makings of a staple Dalek serial that Nation could easily have cooked up in five minutes (Nation was notorious for rehashing a lot of his scripts in the 1960s and ‘70s).

For the most part, Mark Wright and Cavan Scott’s script is a rather dull Dalek story told with some atmosphere, in a similar vein to the source material that inspired it. It’s an odd mesh of 1960s Doctor Who capped off with a 1980s flavour that is embodied by Colin Baker’s Sixth Doctor and Nicola Bryant’s Peri Brown. The serial is for the most part sluggish and very much a run-around story until the episode three cliffhanger. Only in the final episode does the dramatic tension go up several Dalek rels – listeners are presented with an innovative, exciting variation on an old theme that takes cues not just from the original 1964 serial but from modern Who’s Rise of the Cybermen/Age of Steel two-parter and even James Cameron’s original Terminator film. The Daleks even perish in a fashion that is more 1980s Who than 1960s – the death toll would make ‘80s script editor Eric Saward proud!

The problem is this surprise plotline almost feels tacked on – like an afterthought (although there are hints about some characters and their motives throughout the broader serial, it is not evident on a first listening). It also leaves more questions than answers for the listener (to elaborate in this review would unfortunately mean lots of spoilers!). Wright and Scott have a brilliant idea but don’t afford themselves enough time to wrap up the serial satisfactorily and convincingly.

The production itself makes up for some of the script’s shortcomings; Big Finish as usual excels itself in the sound design department. Nick Briggs – the Dalek Prime himself – not only lends his voice talents to the creatures for the umpteenth time but also directs the story and composes the music while sound designer Martin Montague does an exceptional job with natural, everyday sounds (eg seaside birdsong, wind, motorcycle engines, other motors) and manufactured fantasy noise (eg the whirring of a Dalek as it travels through a corridor, the traditional “heartbeat” of Dalek machinery, the rustling of the Varga plants and the elephantine roars of the Slyther). As a result, there is plenty of atmosphere at various points of the story, especially when the Doctor, Peri and the supporting cast are treading through what turns out to be a Varga plantation and later on a trawler on the North Sea when they are attacked Kraken-style by the Slyther (plural).

The cast is also impressive, given most of the characters are underdeveloped and quite two-dimensional (although this is deliberate for some characters in the first three episodes). Given the story is set in Scotland, the supporting cast are, of course, Scottish. However, while there has been a strong effort on the parts of the writers and the performers not to resort to stereotypes, inevitably some of the characterisation and dialogue does border on type, eg Brian McCardie’s portrayal of Alan Weir. Tracy Wiles, on the other hand, brings attitude and spirit to the story as Moira Brody, a hero of the human resistance whose exploits will inspire other rebels to eventually overthrow the Daleks. The character with the most promise that is the most horribly underused is Kyle Inskip, played by Hugh Ross. Given how outstanding Ross has been as civil servant Sir Toby Kinsella in the Doctor Who audio spin-off series Counter-Measures, it’s almost criminal how small his role is in the narrative. If the writers had been more imaginative, Inskip could have provided a great foil for Colin Baker’s Doctor.

Colin Baker and Nicola Bryant are, of course, on-song as the Doctor and Peri. In their one and only Dalek story on television (Revelation of the Daleks, 1985), they were bit players in the overall narrative. In Masters of Earth, while the Doctor and Peri cannot interfere in what is essentially a fixed point in time, they are very much part of the action and more often than not at the forefront of events. To again emphasise what an almost traditional 1960s-style tale this is, the duo in many ways fulfil the roles of the First Doctor and his companions in many purely historical tales of the same period – arriving at points in time that they know they cannot alter but inevitably getting caught up in those events, no matter how hard they try to avoid them.

The portrayal of the Doctor and Peri in this tale – occurring shortly after Peri rejoins the Doctor in his travels – is much warmer and affectionate than it was on TV in 1985. Bryant delivers a confident, mature and courageous performance as Peri who isn’t afraid to stand up to the Doctor when she has to, but she still displays her vulnerable side. No sooner is the young woman coming to terms with her sense of self after five years in the thrall of an alien mind parasite than she finds her will again put to the test when she is stung by a Varga plant. Baker clearly also enjoys the opportunity to work with Bryant again, particularly in scenes when they spar over some of the Doctor’s more questionable actions. 

Baker’s Doctor maintains much of the warmth and good humour that the character has developed over the last 15 years of Big Finish but he is never lacking in moments when he has to express steel in his voice or disgust and horror at the Daleks’ and other antagonists’ actions. Perhaps a little too much, Baker also lets his enthusiasm for teasing the Daleks show through. “Oh dear, it’s all going a bit Dalek-shaped, isn’t it?” is definitely one of his funnier quips!

Masters of Earth is entertaining in parts and compelling in others but mostly for three quarters of the story it’s just plain dull. While a tale that honoured the golden anniversary of The Dalek Invasion of Earth may have seemed a good idea in script meetings at Big Finish, Masters of Earth is almost a dull retread of the original story. Even when the tale finally starts to get interesting, the listener’s enthusiasm is cut short simply because the narrative runs out of time. While Doctor Who fans are likely to persevere through it, it’s hard to imagine a casual listener would dedicate that much effort and would probably run out of patience before the critical turning point in episode three.

Indeed, for a more profound and action-packed spin-off to The Dalek Invasion of Earth, then fans should instead listen to the aforementioned two-part Lucie Miller/To the Death. That audio tale is a more dramatic take on the original 1964 serial and shows that the Doctor and his companions are not invulnerable and that there are real consequences to fighting the Daleks, something that Masters of Earth barely touches on. Masters is a footnote by comparison, a Dalek “greatest hits” album that doesn’t quite pay off for the listener.

 

 

Effectively held hostage by a long-forgotten enemy of the Doctor, the TARDIS crew must try and stop a major distortion in the time vortex itself. Being a Time Lord should give the long-lived hero a sporting chance, but will he go to the extent of sacrificing any number of his fellow travellers?

Any story opening with the panel 'The End' would be lacking something were it not to take a head-scratching premise and run riot with it. Doctor Who of the 21st century has offered numerous 'timey-wimey affairs' - especially with incumbent showrunner Steven Moffat. This story gives the great man a run for his money, and uses the particular comic format to wonderful effect. Every panel of this story has something to offer, and the layout of reverse chronology and back again offers notable re-readability, which is quite unusual for most comic book stories.

The Eleventh Doctor is truly in charge here, but at the same time very keen to make sure that his companions offer a helping hand. Of the three of them it is perhaps somewhat surprising which one provides the best and most dramatic way of confusing the villain. I will not disclose exactly who is involved in making life difficult for do-gooders, but can say that we have another nod back to Classic Doctor Who - akin to 12th Doctor effort 'The Swords of Kali'.

A lot of the dialogue is on the money this month. There are quite a few speeches and bits of exposition that may have been a bit over-done were this to be more conventional a tale. Yet with so much material demanding multiple viewings, a bit of excess is justified. And as the frantic task to unbend the convolutions of chaotic cause-and-effect take centre stage, there is still some very engaging characterisation which lets the reader know some inner feelings and beliefs that the regular protagonists harbour.

Alice and ARC are both very well-done companions that offer interesting but very different qualities. The pastiche figure of Jones is to my mind perhaps a bit weaker in realisation, but still fulfills plot requirements comfortably. There is also some real suspense over just who will be left standing out of this quartet. Without spoiling the storyline, it would appear the worst does happen - but it's lasting effects seem to be minimal. What could have been a big weakness instead amounts to both a justified reset button and a definite progression for the TARDIS crew.

Although I enjoyed Boo Cook's contribution visually in the previous two issues, the return of Simon Fraser is certainly not unwelcome. And he clearly knows how to best use his style to tell such a dynamic story. In addition to dialogue, Rob Williams' writing in general is consistently engaging; managing to make this adventure stand up as a solo piece for the more casual sci-fi or comic aficionado. Somewhat of a relief is the lack of any overt 'SERVEYOUinc' story arc threads, which allows for this issue's villain to stand on his own balletic feet.

In summary, with fizzy dialogue that reflects the sheer zaniness of events, along with simultaneously gripping and carefree plot mechanics, this is a must-read. It will both satisfy fans of this Titan series, and convert those somewhat more sceptical about Doctor Who's suitability for this medium. I was perhaps not too impressed with earlier one-offs starring the Eleventh Doctor, but this holds up as a work of art which rivals the crème de la crème of visual storytelling.

** Bonus comedy strips: AJ's 'Ice Cold' sees the apparent return of an alien that has both helped and hindered the Doctor during his many lives. A sneaky twist however provides a fine punchline.
'Bus Replacement TARDIS' from Marc Ellerby is a wonderfully irreverent effort and also appropriately set in snowy conditions. Amy and Rory struggle to cope with the climate and and an infuriatingly bubbly Doctor who fails to apologise for the change to their 'normal' travel and accommodation.

"Take your time, why don't you?..shoot the distinguished gentleman with the twinkle in his eye --or the raging monster that's about to rip him limb from limb?!" - The Doctor demanding to be rescued.

The villain roster goes from one supernatural entity to another in this new multi-part story. The Doctor and Clara are ushered through India's past and future in a bid to stop a form of vampire creature which has infiltrated the country's 'premier dynasty'. Originally a deliberate break from action was planned, but the Doctor had been hailed by a gentleman called 'Tiger' via the TARDIS phone. Tiger is a friend from long ago again needs some help. 'The Swords Of Kali' features a good handful of time zones and locations with the dramatic events having one TARDIS occupant stranded in 1825 and the other in 2314 trying somehow to reach them. 

There are echoes of the Jagaroth (from 1979 TV gem 'City of Death'), in that a supernatural family have helped mould and direct Mumbai's path from a tribal nation to a cutting-edge interstellar presence. There are other nostalgic details too: the Fourth Doctor's image is featured in a picture on a wall, and the Mona Lisa has once again been affected by the Doctor's actions. There is even a cameo from Leonardo Da Vinci (who was absent from that same Classic Series story). 
And for those only familiar with modern Who, the plot is worthy of 'Blink' and other 'timey wimey' TV installments; not letting up in pace, but thankfully avoiding being rushed. There are many strong original characters once again, but the stand-out is Rani Jhulka. She is a remarkably powerful and quick woman, who saves a couple from some thugs in the pre-credits section, and proceeds to infiltrate a fortress - where she meets up with one of the regulars. With a striking look, and a distinctive way of speaking, she is a much better realisation than Jenny from Series 4 tale 'The Doctor's Daughter'. 

Morrison's writing is again fluent and full of incident, but also offering engaging themes and strong characterization. Dave Taylor reprises his memorable artwork - with sterling support from colourist Luis Guerrero. Both the regulars and the guest characters are drawn with full life and emotive range, and the pages of this comic almost seem to turn of their own accord. Imagery and symbolism are strong too: the atmosphere generated by various sources of light and energy against the backdrop of night-time is inspired. For those readers living through wintry conditions this provides an added edge.
The villains and monsters involved are certainly not the run-off-the-mill stock which Doctor Who sometimes is guilty of, and there is real sense of jeopardy and high stakes. Again this clearly demonstrates how artist and writer are getting their combined vision across.

Much complex shifting from one time zone to the other is central to the plot. This could have been clumsy, but instead is handled well and only adds to a story filled with incident and excitement. The Twelfth Doctor is typically brusque; his portrayal keeping with continuity in that he is really struggling to relate with Clara. Furthermore he is arguably chillingly indifferent to a young woman's grieving for her murdered father. Yet the Doctor is still a hero and will gain retribution for the violence perpetrated by the vampires. One downside in all this packed excitement is that fans of the Clara character will see her being overshadowed by both the actual events and some of the new protagonists featured. Yet the theme of Series 8 is maintained with her well-intentioned efforts to make startled onlookers understand the Doctor's seeming apathy for the crisis unfolding. And with her left to cope with the crisis alone, perhaps the former 'Impossible Girl' will pull off something remarkable. 

** 
Bonus Humour Strips: 'Dark Water' (AJ/RF) advertises a specialist drink that is produced on a Cyberman dominated world. Somewhat disturbingly it reminds us of the dehumanising process that the Cybermen hinge on to multiply, and yet the tone is not muddled. 
'Planet of the Diners' (courtesy of Colin Bell and Neil Slorance) uses Doctor Who's time-travel element at its most frenetic, but still succeeds as a bit of an enjoyable diversion. The lack of noses on the faces of characters is perhaps odd, but otherwise this is colourful and convoluted fun.

“The thing is, Peri, I always go back ... for my friends. In time, I always go back ...”
The Doctor, The Widow’s Assassin

The Widow’s Assassin seeks to definitively address a question that has gone largely unanswered for nearly 30 years: What really happened to the Sixth Doctor’s erstwhile young American companion Perpugilliam Brown after their visit to Thoros-Beta?

When we last saw Peri (Nicola Bryant) on television in part eight of 1986’s epic, season-long serial The Trial of a Time Lord, it appeared that she had died on Thoros-Beta. In what must have been an even more confusing situation for the young woman, Peri had beforehand been seemingly betrayed and abandoned by the Doctor (Colin Baker). However, in what many fans nearly three decades on still consider a dreadful copout, it was later revealed that Peri’s life had been spared and she had become the queen of the Krontep warrior King Yrcanos. Even comforted by the knowledge Peri was still alive, it seems the Doctor never went back for her on-screen – or at least never attempted to reconcile with her.

Indeed, it has been left up to lots of spin-off and fan fiction over the years to speculate about Peri’s ultimate fate, sometimes ranging from the tragic to the absurd. Baker himself even had a go in his 1994 Doctor Who Magazine graphic novel The Age of Chaos. Writer Nev Fountain, best known for TV’s Dead Ringers and various other Doctor Who audio contributions for Big Finish, offered his own heartbreaking take on Peri in the Doctor Who Companion Chronicle Peri and the Piscon Paradox (2011). However, the most absurd theory came from Philip Martin, the scriptwriter of parts five to eight of Trial, who suggested in the 1989 novelisation of his script that rather than becoming a queen, Peri was safely returned to Earth and became Yrcanos’ manager on the US pro-wrestling circuit!

Now Fountain, who is actually married to Nicola Bryant, has had a go at definitively resolving Peri’s story (presumably with Bryant’s input) with The Widow’s Assassin. After nearly 30 years, has it been worth the wait, you may ask? And is it any better than some of the speculation that we’ve been served up over the years?

Fountain answers these questions by putting to us another: Yes, we know the fair maiden was ultimately rescued and became a queen – but was it ever truly that simple? On one level, Fountain’s tale is plausible, and he draws on the apparent fairy tale aspects of Peri’s fate to illustrate that perhaps it wasn’t all sweetness and wine after all (the opening monologue to the story is especially memorable). On the other hand, there are some elements of the story that just aren’t executed as well as they ought to be and really place a lot of blind faith in the listener’s conviction.

The tale start offs as a relatively straightforward murder mystery in a pseudo-mediaeval setting on Krontep. The Doctor arrives on the day of Peri’s wedding to Yrcanos to beg her forgiveness and to try to understand why she never waited for him on Thoros-Beta after he was whisked away to his trial. However, Peri has him promptly arrested and thrown into prison. Yrcanos is poisoned at his own wedding and dies a week later (fans who still cringe at Brian Blessed’s shouting nearly three decades on can breathe a huge sigh of relief – Yrcanos is only mentioned in dialogue and their sensitive ears are spared Blessed’s booming tones!). Five years later, Queen Peri pardons the Doctor and enlists him on a diplomatic mission to the planet Hurn to observe the suitors for the nuptials of its ruler Princess Dirani (Fiona Sheehan), only for the Time Lord to again fall foul of the law and be accused of regicide ...

The mediaeval flavour of The Widow’s Assassin gives the listener a story that is (much like Fountain’s period drama The Kingmaker) more farce than drama – or more Blackadder than Game of Thrones! It features many colourful, exaggerated characters with ridiculous and snobbish accents such as Baron Pteratrark (John Banks), Reverend Flitamus (Andrew Dickens) and Prince Harcross the Ever Patient (Glynn Sweet), as well as the distinctly Welsh working class intonations of the simply named Guard One and Guard Two (Dickens and Banks again), who fulfil similar roles to the fools of many Shakespearean epics. Indeed, the only no-nonsense character, apart from the Doctor and Peri, is the Queen’s head of security Constable Wolsey (Tim Chipping) – and even he is a genetically modified human-sheep hybrid! Apparently having four stomachs gives Wolsey an extra “gut feeling” when solving crimes!

The story also parodies fairy stories, particularly of the beautiful princess bagging her wonderful prince at the end of the story – although in the case of The Widow’s Curse, we discover that not all royal personages necessarily live happily ever after, nor they know true love either!

In addition to straddling the fairy tale, pseudo-mediaeval and murder mystery genres, The Widow’s Assassin to boot throws in a “wibbly, wobby, timey-wimey” element. This was a strong feature of Fountain’s Peri and the Piscon Paradox and also of The Kingmaker but the “timey-wimey” component in The Widow’s Assassin is subtler and requires not only a lot of exposition but an open mind on the listener’s part to make it credible (something that the author should make work of his own accord, not anticipate the listener to accept). It does, however, explain why the Doctor is supposedly content to spend time in prison rather than investigate Yrcanos’ murder.

While The Widow’s Assassin is mostly satirical, the cliffhanger to part two of this four-part serial takes the story in a more sinister and abstract direction from what you’re expecting and it ceases to be your conventional murder mystery. In fact, the story has a twist within a twist, completely overturning the usual assumptions we have had about Peri’s fate after life in the TARDIS and really testing the story’s plausibility and again the listener’s ability to suspend disbelief. Unfortunately, the antagonist, which is revealed to have as much of a personal connection to the Doctor as Peri herself, is “too grotesque to be real” (as the Sixth Doctor once said of another of his foes) – that is, the adversary is even more two-dimensional and underwhelming than intended (a fact not helped by the over-synthesised voice!). Fountain tries to be a little too clever with his script when he doesn’t need to be.

Nevertheless, the production itself is delivered with all the energy and enthusiasm that we have come to expect from the cast and crew of a BF audio production and, apart from sections which require a lot of ponderous exposition, the story is well paced and well performed by the cast. It is a credit to the likes of Chipping, Banks, Dickens and Sweet that they can deceive the ear with differing voices and inflections and create the impression that there are more actors involved in the production than there actually are. Indeed, all the actors, including the regulars, should be congratulated for fantastic voice work. Baker and Bryant even swap roles in the climactic stages of the story (Bryant’s portrayal of the Doctor is brilliant and Baker’s impersonation of Peri’s American accent is riotously funny!). Baker even lends his voice to other roles; the reason why makes sense as the story progresses (despite again testing the listener’s credulity) but you do not realise it is Baker’s voice until you sit through repeated listenings.

For the most part, The Widow’s Assassin is an entertaining, farcical romp with plenty of black humour but as a definitive resolution to Peri’s fate in the Doctor Who universe, it really should have been a more earnest, darker story – much like the Thoros-Beta story arc of the Trial season which inspired it in the first place. Indeed, you expect the story to be much darker after the great cliffhanger to part two; Fountain sets up what seems to be an intelligent, logical follow-on from events on television but then attempts to be too clever and fancy with it and expects far too much of the listener to accept some of his plot points and join the dots. Nevertheless, if you’re a fan of Peri Brown (and Nicola Bryant) and were always disappointed at the uncertainty of her departure, you will now be pleased that the character has effectively been given a new lease of life (pun not necessarily intended!) and that she may yet have more satisfactory closure in BF’s ongoing Doctor Who audio range than she did on television.

 

 

A well-received first series of this spin-off drama ensured another quartet of adventures - which take place in Britain during the 1960s - would arrive in due course. And this second batch is just that bit more assured, well-rounded and cohesive than the previous one. All the main cast had proven their worth - ably helped by good characterisation and some enjoyably sharp witticisms - and they continue their fine work.

'Manhunt' sees immediate fulfilment of producer Richardson's promise (in Series 1's extras features) to build on the elements that proved effective and to limit those that detracted. One welcome aspect is that the story employs a 'beginning-in-the-middle' technique, which means a lot of exposition bringing listeners up to speed but also a change of pace that curbs formulaic repetition. The events and the sense of jeopardy are thankfully strong enough to ensure that this information does not feel unwieldy. A very good twist in the final act gives added dimension to the story. Gilmore is fighting to avoid capture and clear his name, and Simon Williams clearly enjoys having to play a quick-witted 'Bond' rift on his usual army-man persona. Allison notably seems to have a chance to make amends for her notably bad romantic life, but decent drama can often spare little regard for such a likeable character.

'The Fifth Citadel' is deliberately slow at first, allowing suspense. Some nice supporting characters help to get the listener involved in the actual plot, whilst there is plenty of intriguing character development for the main four players. Especially effective is the hitherfore uncommon pairing of Toby/Rachel and Gilmore/Allison. The play ultimately comes to full life and meets its potential thanks to the spellbinding Celie Imrie. The ending is suitably memorable and chilling, and also establishes an undertone of paranoia on whether the Counter-Measures team can really believe in each other's integrity.

Next up is 'Peshka' - a quintessentially Cold War story both in themes and in actual plot. To my mind this entry offers the best mixture of the characterisation and morals of this season with the paranormal events/action focus of the previous one. It is made further enjoyable by lots of good dialogue. Much of the personal interaction features heated argument, but impressively the writers avoid the trap of such repetition becoming ever so tiresome. The storyline of a chess genius wishing to defect again is notable in wrong footing the listener, as a decent twist leads to the real source of trouble in the final act. The two main guest stars (Bo Poraj and Emily Tucker) both impress and have put their homework in to sound authentically from their country of origin.

The season finale has its fundamentals from the unresolved details left hanging from 'Manhunt'. More cutting revelations come thick and fast, and manage to be sustained over whole story. The fate of one returning character is surprising in its fashion and when it happens; yet opens up a whole new can of worms. The brittle trust between Knight Kinsella and his Counter-Measures team is pushed to the limit, but could someone else entirely be the one who pushes things too far? One issue I have with a fair number of radio plays is the reliance on sound effects which may be of a confusing nature, and the lack of accompanying narration or explanatory dialogue. 'Sins of the Fathers' perhaps is the most troubled in the set in those terms, but otherwise the production is quite polished. It is also welcome that this really is designed as a direct sequel to the earlier story, as well as continuing the tension from the middle two. Rather predictably, some plot threads are left loose for Series 3 but at the same time the writing team have demonstrated enough flair to raise hopes of there being even more strong material to come.

As stated above, character development and the evolving dynamics of the core group make this series an improvement on the first. The Rachel/Gilmore relationship which was not so fertile in the first series - with other romances cropping up - now seems to be developing into at least a firm friendship if not something deeper altogether. Allison seems to still be learning the hard knocks of life which her older, somewhat embittered colleagues know just a bit all too well. But just as he stole the show in the first run of stories, Hugh Ross' complex character compels again of the main cast, and it now almost feels irrelevant that he never was in the main frame of action in the original television Dalek story. The latter two adventures especially see Sir Toby Kinsella entrusted with power and responsibility but facing awkward questions from his junior colleagues, and the results certainly live up to the strong premise. Further excitement is evoked through the development of the character Templeton. This is a man who clearly has a lot of depth, and a lot of amorality, allowing him to use means to justify end results. Actor Philip Pope is a very good fit for the role, and hopefully will feature again to a notable degree.

Extras are again very comprehensive and entertaining, conveying the sense that the entire cast and crew are working very well together. Anecdotes abound, including how Simon Williams was key in getting his renowned actress-wife Lucy Fleming to participate as Lady Waverly. Similarly Celie Imrie happened to know Hugh Ross before her being invited to return to Doctor Who - after her turn in the bells of St John - which certainly aids their excellent work together in 'The Fifth Citadel'.

The writing team reveal motivations and objectives including: gender politics and their evolution during the 1960s; being able to use tantalising clues for the uncovered interim period between stories/series; and exploring a twist on the Frasier/Niles family dynamic of the beloved American TV show. The latter method is perhaps odd, but ultimately welcome as realistic characterisation makes a decent audio story a good or great one.

The point this review would normally start at is, in a somewhat mundane fashion, the beginning of the story. But in fact, it’s probably best to start with the rather well put together trailer, appearing at the end of the previous two episode excursion in the Fourth Doctor Adventures range, “Destroy The Infinite”. The trailer itself feels very reminiscent of the revived series, particularly feeling like something from the series 8, 12th Doctor pen of Steven Moffat. With supernatural elements appearing ubiquitously, along with dramatic music and a fairly anxious looking Doctor, the premise, such as it could be understood, looked promising.

The two episode adventure certainly lives up to this, with a production that twists and turns whilst keeping the number of visited locations to a minimum. Moreover, the linear plotline of most stories is replaced by a relative maze of possible angles, with the situation encountered by The Doctor and Leela, played with their usual flair and characteristic quirks by Baker and Jameson, remaining unresolved for a not unreasonable length of time. The use of references to past events and characters, as depicted in previous stories such as The Evil One are not without reason, woven into the tapestry that leads to the dramatic climax. The structure of the adventure could be seen as filmic in places, with the location shifts providing an impression of cause and effect between the actions of individuals or groups.

The most apt descriptions, subjective though they may be, for this story would probably be surreal and ground-breaking. The doctor and Leela’s dialogue, while at points seeming a little tense, conveys the slightly odd student-teacher dynamic well. Stephanie Cole’s Lady Marianna is at once chillingly unsympathetic and unrelenting, the latter trope also being present in the rather unnerving performances of Mandi Symonds, Andy Snowball and Jameson’s co-writer, Nigel Fairs. The score is well suited to the adventure, falling quiet when the need arises for tension and allowing the eerie atmosphere to settle in, complimenting the high quality production that most have come to expect from Big Finish’s various audio ranges. Leela’s part in the story is suitably larger than usual considering the doctor’s deteriorating mental state, as well as the fact that Jameson came up with the original idea and had a large part in the writing process. The additional references to elements like Block Transfer Computation gives opportunities for fans familiar with the classic, pre-revival era to try and spot the others laced throughout which, according to additional research, even include references to audio ranges outside of the Fourth Doctor Adventures.

All in all, while the story itself is very well crafted by Fares and Jameson and is an interesting and thought provoking performance by all members of the cast, it would most likely be confusing to new fans of the range or indeed of Doctor Who in general. This is due, in part, to the fact that the entirety of the adventure is an exception to the classic idea of Doctor Who stories, where the Time Lord is seen saving a planet from some alien race or other. The fact that other previous stories are referenced, if subliminally, also means that fans familiar with a wider portion of the canon will, in theory, be able to get more out of this than those hearing this as an initial entry into Doctor Who audios. This is a good adventure in spite of these minor points and I would urge anyone looking for something new and relatively abstract to give this one a listen if they are fans of the third season of The Fourth Doctor Adventures or the Big Finish ranges in general.