Audio Review 28: Ravagers, written by Nicholas Briggs (2021)

Released: May 2021

Cast:

The Doctor – Christopher Eccleston

Nova – Camilla Beeput

Ravager – Clare Corbett

Lieutenant Farraday – Ben Lee

AI/President/Cafe Owner - Anjella MacKintosh

Audrey – Jayne McKenna

Captain Halloran – Jamie Parker

Marcus Aurelius Gallius – Dan Starkey

 

Main Production Credits

Producer – David Richardson

Script Editor – Matt Fitton

Writer – Nicholas Briggs

Director – Nicholas Briggs

Incidental Music – Howard Carter

Sound Design – Iain Meadows

Recording – Remotely

Title Music – Ron Grainer, realised by Delia Derbyshire and Murray Gold (Remixed by David Darlington)

TARDIS Sounds – Brian Hodgson and the BBC Radiophonic Workshop

Executive Producers – Nicholas Briggs and Jason Haigh-Ellery

 

BEWARE! SPOILERS BELOW!!

Story Summary:

The Doctor encounters a wave of unexplained Time Eddies across the Vortex, causing chaos and disruption throughout all of history. Tracking their initial source to a future civilisation, based on immersive video gaming, he arrives at the Sphere of Freedom. Helped by Nova, a galley chef, The Doctor discovers that the company’s CEO, Audrey is creating the Time Eddies to fight a race of aliens, intent on devouring the Universe…

Story Placement

Between The Day of the Doctor (TV Episode – War Doctor perspective) and Respond To All Calls (Big Finish Audio).

Favourite Lines

Nova: “Is he not your type?”

The Doctor: “Well I’d hate the Universe to end during our first Charganzi”.

Review:

I feel like I need to pinch myself. The return of Paul McGann to Doctor Who back in 2000, when he first joined Big Finish Audios, was a time of great celebration, although it was an achievement that always seemed possible. The arrival of Tom Baker at Big Finish in 2011, was also a great occasion, but it seemed rather inevitable, given his large dedication to both the Doctor Who fan community, and his growing interaction with spinoff productions. David Tennant was already a Big Finish alumnus, when he brought his 10^th Doctor to Big Finish in 2016. However, the news of Christopher Eccleston’s return to Doctor Who productions, with Big Finish, was a joyous surprise I had never expected, and brought me the biggest smile in months, such was my excitement at the possibilities and enjoyment to come.

Christopher Eccleston was the first Doctor, for whom I had watched a full series from, brand new, live on transmission, with the rest of the World. While, I saw Paul McGann’s appearance in the TV Movie, as live, too, and had grown up with repeats of the Classic Doctors during the 90s; this was the first time, that I had experienced Doctor Who, in the same way as people had done, in decades past, before home video started.

Doctor Who’s now iconic and unforgettable 2005 return to Television is seared onto the minds of a generation. The first of the soon to be many acclaimed series, presented a fun and accessible jumping on point, for new audiences, which quickly developed into a fast-paced thriller and intense character drama that gripped me to the end. Watching that series broadcast, was one of the most exciting Television experiences I’ve ever had. Even though, I was already 18, and through most of my formative years, it still left a huge impression on me. The sheer exhilaration of the dramatic build-up to the series finale, The Parting of the Ways, was palpable. It was virtually everything I hoped it would be, and the great memory of those times, shall stay with me forever; let alone set a high bar for subsequent series to beat.

For me, Christopher Eccleston, was a huge part of why I loved that first new series so much. His gravitas, dynamism, precise and electric performance, was full of such energy and conviction, it made those episodes so effortlessly enjoyable, and entrancing. Lead writer and showrunner, Russell T. Davies, as well as fellow acting lead, Billie Piper, also played huge parts in Doctor Who’s great success that year; but for me it was often Eccleston that made them unmissable. As a result, Christopher Eccleston will always be one of the handful of Doctors, like Jon Pertwee, Colin Baker, Sylvester McCoy, Paul McGann, who I grew up with, and for which I will always have special affection for.

However, leaving the role of the Doctor on screen, after one year, under unknown creative disagreements with the production team, it was clear that any revisit for the character on screen was unlikely. I won’t pry into the personal business of those involved, so I’ll move on, but in short, for a long time, it seemed like Christopher Eccleston would never, ever return to Doctor Who. So, I’m overjoyed that we finally have another chance to be blessed with Eccleston’s reappearance in the role, on audio.

Sphere of Freedom

From the first second, Christopher Eccleston’s breathless, and impassioned performance, bursts through the speakers, in an exciting introduction, that captures you instantly. It’s impossible to describe how happy I was in those first few moments, transporting me back to those heady thrills of 2005. Sphere of Freedom is everything I hoped it would be, sharing another wacky and imaginative rollercoaster ride, with Eccleston’s pragmatic and no-nonsense Ninth Doctor.

Time Eddies have been a theoretical phenomenon much talked about in Doctor Who before, but rarely demonstrated. Their ability to suddenly appear into existence, and whisk you away, like temporal Tornadoes, is thrillingly realised, first by threatening the Doctor and his new friend, Nova, but also by their impact on Earth. The cultural contrast of 1^st Century Romans coming up against 1950s British soldiers, in the middle of Central London, is both visually imaginative, but clearly also a great deal of fun, as they try to understand, and outthink each other.

The Ninth Doctor is thrown into this chaos, London being a lovely echo of its presence in TV episode, Rose; and wastes no time, in his trademark succinct manner, getting down to business. As a result, the pacing is fast, and feels fairly action-packed.

Once the Doctor traces the Time Eddies to the Sphere of Freedom, that’s when Ravagers really pulls out the Ace up its sleeve – the wonderful Nova. Nicholas Briggs has given Big Finish, another in its increasing successful line of great, new Doctor Who companions. Nova has the accessibility of Rose Tyler, with the down-to-earth and relatable natures of Lucie Miller, and Liv Chenka. I love how Nova, is just looking for a better life, and isn’t automatically spellbound by the Doctor and his fantastical travels. In an all-too familiar tale, Nova is just trying to get by, exploited on a low wage, and going through the motions. The Doctor’s appearance reawakens her sense of self-worth, and she is happy to risk it all, for the hope of better days.

The fast-moving plot and dialogue make this production, feel very fresh and exciting, much like the first episodes of the TV revival itself. However, this all gradually changes, not long after the appearance of the mysterious Audrey. After endless questioning of the Doctor, it doesn’t take too long for the audience to guess that she is one of the main antagonist’s in the overall story. Unfortunately, the script holds back the reveal till far too late, in my view; partly as a result of the unusual method of framing half of the first episode, as a narrated story, which after a while stops all the momentum the narrative, had up until this point. The cliff-hanger reveal of the Time Ravager creatures, also seems to come from nowhere, and suffers from a lack of build-up in the script earlier. For the most part though, this first entry, is a fantastic opener.

Sphere of Freedom – Score: 8/10

Cataclysm

Cataclysm continues to intriguingly thicken the plot, while giving us more time to appreciate Nova, as a new companion. Nova bravely holds her own against a bunch of bloodthirsty Robots, who deem human intelligence and individual thought to be a form of corruption and pollution (a great piece of quick social commentary on political popularism).

Meanwhile, the Doctor and Nova, traverse time to try and find a way to shut down the dangerous Time Eddies threatening the Universe. However, it seems the Time Eddies fight against them, forcing the TARDIS to arrive at events in the wrong order. Despite that, it’s clear Audrey created the Time Eddies, so the Doctor finally arrives at an earlier moment in Audrey’s life, on the planet Tarleesha, desperate to try and get more information. Although, this expedition seems a fruitless run-around, it does give us a chance to see how great the new pairing of the Ninth Doctor and Nova is.

Nova proves, a smart, and pragmatic companion, who keeps the Doctor focussed on the now, while also not standing for his occasional mood swings. Nova is also very imaginative, and insightful, coming up with most of the helpful ideas, again keeping the duo focused. I also love how cutely the Doctor distracts the guard with a funny romantic note on the psychic paper. A neat idea, never attempted on the show before, bar River Song’s teases, of course.

Despite the active and complex plot mechanics, Nicholas Briggs continues to hold all the answers close to his chest. He skilfully crafts more scenarios that raise more questions; having the Doctor show up as a mysterious temporal spirit from the future, which is a really neat reversal of the narrated story device employed by Audrey in Sphere of Freedom. I also like how Audrey isn’t your typical supervillain, but a misguided scientist, later amoral business CEO; who seems to have some good intentions for her people, even if she has little care for the rest of time and space. As the scale of the story increases, so does the intrigue behind it; even if Cataclysm is mainly an entertaining romp, within a larger story, yet to be revealed.

Cataclysm – Score: 7/10

Food Fight

The much-teased conclusion brings back the momentum of the first episode; the plot jumping from place to place, barely stopping to take breath. However, some of it is quite clearly a way of putting off the final resolution, by instead dwelling in light entertaining banter from the supporting historical characters. Although, I must admit, imagining a Roman dangling out of the TARDIS, into the maelstrom of the Time-Space Vortex, is rather amusing. Nova also starts to devolve slightly at times into a Rose Tyler soundalike, but fortunately reverts to her original self once the action returns to the Sphere of Freedom.

Forward Flashbacks of the Doctor’s temporal spirit remain an excellent audio storytelling device; and really helps develop a fascinating chemistry between the Doctor and Audrey. Audrey, in fact benefits the most, with some great character development, demonstrating her aim to aid the Universe, while also made desperate, after suffering the fall of her own World, Tarleesha. It finally makes her a convincing character, and one that we can sympathise, even if, like the Doctor, she has misunderstood the true nature of the Ravagers. Our understanding of Audrey comes just in time, for a well-earned face-off between her and the Doctor.

Interestingly enough, the Doctor’s arrogance is just as misguided as Audrey’s; tearing apart Audrey’s technology on the Sphere of Freedom, only to completely misjudge the overall situation. Once the Doctor has been swallowed up by a surprise Time Eddy, he finds himself, face to face with the much talked about Ravagers. I must confess, after the build-up, the truth behind them as primal creatures, that just live off the fear pheromones generated from their own emotions, feels somewhat underwhelming. In some ways, it’s an interesting metaphorical social commentary on people, who only live off the thrill from the virtual technology – TV, Computers, Phones, Gaming, Virtual Reality. In this instance, it just feels a bit contrived that the power of the Ravagers is conflated to threaten the whole Universe and Space/Time at once, rather than perhaps purely on a planetary level, which potentially may have been more effective. There are only so many times that Universe level threats can be banded about, before it starts feeling a bit blasé.

Food Fight resolves the impending doom of Space/Time, by having the Doctor, cross his own time stream again, but this time, to rewrite most of the entire events of Ravagers from scratch. The primal Ravagers are sated, amusingly, by essentially creative editing, allowing Audrey to keep them at bay, with a regular dose of Virtual Reality media, or to put it another way – ‘piped in’ Television. So, while the Ravagers are glued into their gogglebox, the Doctor gets friendly reacquainted with Nova, who has to get to know the Time Traveller all over again, after the previous timeline was erased. As solutions go, its far from the worst – a casual lowkey conclusion to an entertaining two-hour adventure.

Food Fight – Score: 7/10

Overall, Ravagers proves to be a very fun romp, across the Timelines. Just like The Chase, the entertainment is more about the journey, than the destination. A diverse range of character types and locations, help give the adventure, both great scopes, but also plenty of amusing and dynamic scenes, really helping to sell Ravagers as a fresh-sounding, and immersive reintroduction to the World of the Ninth Doctor, and boy what a reintroduction.

Christopher Eccleston is undoubtedly the star of the production, and I have already enthused greatly about his performance, but it is so magical, I feel I could listen or watch him perform anything. Having said that, many of his co-stars also do a great turn in their performances, particularly Camilla Beeput as Nova, who brilliantly articulates her strength of character, but also her brutal honesty, successfully giving Nova, a relatable and strong voice, fairly well-matched to Chris Eccleston’s Doctor. Jayne McKenna is good as the amoral Audrey too, portraying more nuanced menace as a villain, while gradually softening her to the point, where the audience feels sorry for the character, trying so hard to save the Universe. Of the supporting actors, Dan Starkey stands out, cast in a role that plays to his comedic strengths, as the brutish, and constantly bemused Roman Centurion, Marcus Aurelius Gallius. Starkey gets a lot of the funniest moments, even if his character has very standard historical character “out of time” dialogue.

The production of Ravagers is equally as impressive as the performances. I confess, I haven’t listened to many present-day Big Finish audios, because I’ve largely been picking out audios at random to listen to, from across the various years of their amazing output. So Ravagers was probably only the third recent release over the last 12 months I had heard, and the first thing that blew me away with this release, was the immersive sound design of Iain Meadows. The explosions, sci-fi and TARDIS effects, instantly transport you out of the real world, and into a new one, really sparking the imagination. The increasingly superlative Howard Carter, also scores another home run, with a soundtrack that is reminiscent of 90s Sci-fi, Spy-fi, but also creates a wonderful new theme, in a similar sound to Murray Gold’s Westminster Bridge from Series One of the TV revival. Nicholas Briggs’ regularly fine-tuned direction, also shows, as no performance is wasted, and the whole production feels so seamless and full of action.

Some fans may feel disappointed that this isn’t a deeper examination of the Time War, battle-scarred, and traumatised Ninth Doctor, often portrayed on Television. However, in defence of Big Finish that was only ever one side of the Doctor’s personality, and writer Russell T. Davies, I feel, explored it deeply and intensely throughout his time on Doctor Who. They often forget about the Ninth Doctor’s fun, life-loving, and excitable side, that often welcomed him into people’s living rooms. Ravagers features more of this aspect to the Ninth Doctor, and to me it makes perfect sense. The Time War and Time Lords are hinted at, but at this point, the Doctor is in denial, and throwing himself into his new travels, before he’s yet to come to terms with those events, during the later years of the incarnation depicted in the TV series.

Tonally, Ravagers provides just the reintroduction for the Ninth Doctor that we needed. Not an overcomplex puzzler, or a sudden dive into a tense emotional drama that we already have several examples of, but a fun ride around Time and Space, with a few great characters along the way. The bigger ideas, dramas and story arcs, can all wait for later stories. Ravagers watch word is clearly to be accessible to all, and great entertainment in all weathers. In that, Ravagers succeeds in spades. Just like The Chase, it whisks us around the cosmos, and across history, in a whirlwind of action, thrills, and diverting time jumps; but equally just The Chase, its not really offering enough substance, to in the end, be much more than that. Simply a great showcase of its star, to remind us how much we still love, the fantastic Christopher Eccleston.

Overall Score: 7/10

Non-Who Review 1 - James Bond 007: Casino Royale, written by Ian Fleming (1953 Novel)

Released: April 1953

Review:

The book that started a cultural phenomenon. A now iconic leading hero, and the most famous and fantasised, albeit fictional, Spy ever written – James Bond. His mythologised status in British culture, is nearly akin to other folk and fictional heroes like Robin Hood and Sherlock Holmes, and so far, till now, is getting ever stronger. It all starts here.

Casino Royale is both the character’s first thrilling adventure, but also his introduction. The storyline is almost as well known as many other famous literary works. James Bond takes on a Communist – Le Chiffre, a paymaster for Soviet spy organisation SMERSH; and effectively bankrupts him, by beating him in a high-risk game of baccarat at a high-class Casino in North France. The story is a solid and straight-forward affair, with few of the series’ trademark frills that would appear later, bar its exciting plot and character twists in the third act. Casino Royale reads like many of the great travelogue novels of the 1950s and 60s. The text is an easy flowing read, with the plot developing at a decent and fine pace, with no page or time wasted. One can also easily understand the appeal of Bond at that time: the continuous references and descriptions of the expensive food and drink, the sun-kissed European beaches, and classical Hotel fronts. While painting the rich tapestry of Bond’s World in the imagination, it also brings an immersive sense of luxury, the like of which was near-impossible for the usual reader to experience, even now. The lure of aspirational living. Just one of the first things that you notice about the book series.

Furthermore, its fascinating to notice the big differences between this original novel, and the very successful 2006 film adaptation starring Daniel Craig. Even in Casino Royale, the James Bond of the novels, is a very assured, and confident persona. Perhaps an essential quality for a Spy in the field, so you may think, but I feel it never really explains the character’s earlier life, and hides away all sense of vulnerability, even during some of the alarming torture moments. Maybe Fleming was keen to give us James Bond fully formed, as he meant to go on, but it takes away some of the impact of the book’s final twist. This is an aspect, which I feel the 2006 film is a huge improvement on. Not only does it develop more of Bond’s backstory, but it also show’s the character gradually develop into the personality we know, through a series of side incidents, but also through the visceral experiences of the main story from the book, showing their effect on Bond to mould him into the more aloof, assured character we’re familiar with.

Oddly, the changes to Vesper, are almost in detriment. Vesper, Bond’s female ally, is private, enigmatic, but still a feeling, caring and sweet-natured person in the Novel. When her true motives are revealed, her emotional breakdown is very moving, and all too easy to empathise with. In the film adaption though, Vesper is a colder, albeit stronger, and braver individual, who never really commits much of her emotion, even to the audience. Unlike the film also, the Novel has a fairly neat, and concise ending, even if its more downbeat. The 2006 film adds an extra climatic fourth act, to finish the production on a bang, and a more triumphant note. However, unlike the novel it doesn’t come across as organically written.

Although, the novel is still, in context, just the opening stepping stone of this book series. As a result, the narrative, twists aside, is fairly plain and unambitious, for the most part. James Bond has far greater storylines, better development, and moments to come. As Casino Royale is also written in the 1950s, and by a man of the Edwardian era, its perhaps not surprising that James Bond is an ardent sexist. However, what is surprising, is how few times it is called upon during the characterisation of the novel, so in that regard, it feels quite modern for its day. In fact, having been written just a matter of years after the Second World War, both Casino Royale and the book and film series depict an interesting theme of modernity battling the crumbling ruin of tradition and history. Even the Casino itself, is a posh, restored venue, amongst the rebuilding ruins of war-stricken France.

The baccarat game, remains a surprisingly gripping segment of the novel, never being overstated or overblown. Of course, the now infamous kidnap and torture scene, remains a tour de force, and is probably the moment Casino Royale turns from a standard adventure novel, into something greater, more creative, exciting and special. The revelation of Vesper’s true loyalties is one final extra twist that cements Casino Royale as one of the finest thrillers of the 1950s.

Score: 9/10

Audio Review 27: Terror of the Sontarans, written by John Dorney & Dan Starkey (2015)

Released: September 2015

Cast:

The Doctor – Sylvester McCoy

Melanie Bush – Bonnie Langford

Ketch – Daniel O’Meara

Anvil Jackson/Technician Gyte – Jon Edgley Bond

Tethneka/Carter/Thing #1 and #2 – Andree Bernard

Field-Major Kayste/Skegg/Stodd – Dan Starkey

Adjutant Commander Klath/Stettimer – John Banks

Glaar – John Dorney

Main Production Credits

Producer – David Richardson

Script Editor – Alan Barnes

Writer – John Dorney & Dan Starkey

Director – Ken Bentley

Incidental Music and Sound Design – Andy Hardwick

Recording –Toby Hrycek-Robinson at Moat Studios

Title Music – Ron Grainer, arranged by Keff McCulloch (Remixed by David Darlington)

TARDIS Sounds – Brian Hodgson and the BBC Radiophonic Workshop

Executive Producers – Nicholas Briggs and Jason Haigh-Ellery

 

Story Summary (SPOILERS!):

The Doctor and Mel arrive in an abandoned mining facility, on a mysterious planet of huge dust clouds, and colourful rocks, only to discover it was recently appropriated as a Sontaran Research Expedition, which has recently gone AWOL. As well as the Sontarans’ tortured alien prisoners, the Doctor and Mel discover a historic human mining expedition, had also perished under mysterious circumstances. For the planet hides an unsettling secret. Underneath all the beauty, lies a deadly force, affecting the mind, and haunting every corner, with ghostly voices echoing in the darkness. If this wasn’t already a challenge for the survivors…the Sontarans bring reinforcements…

 

Story Placement

Between The Warehouse (Big Finish Audio) and Delta and the Bannermen (TV Serial).

Favourite Lines

Tethneka – “You are mere ghosts in armoured shells…”

Sontarans – “Present Arms. Present Legs”.

 

Review:

Sylvester McCoy’s much-loved Seventh Doctor (not least by me), very rarely encountered Robert Holmes’ fantastic warrior alien, The Sontarans in spin-off media, and never in the TV show, so the Terror of the Sontarans presents a fun opportunity to correct that. Furthermore, it does so from a different angle than the one we’re used to. They’ve often been shown in their galaxy-spanning marauding clone army, invading other planets, testing military science and strategies, perverting the natural Worlds and laws around them, just to benefit their sprawling Empire. Terror of the Sontarans showcases them as amoral and partly equal protagonists, just as much under threat of death and disaster, as the rest of the wider cast of characters. Vulnerability is not a side, one associates with Sontarans, so it’s an interesting angle to explore. Or at least it is with one Sontaran – Commander Skegg, who while running a military research expedition, is reduced to a terrified, quivering and deranged state, as a result of a continuous and powerful psychic attack from the indigenous lifeform, of the planet he surveys. While these events tease a potential deeper side to the Sontarans, writers John Dorney and Dan Starkey (famed as the character actor behind Strax), never really go there, merely using his torment to hint at the deadliness of the unseen foe, throughout most of the story.

In fact, the Sontarans overall, aren’t much different, and display much of their loved previous characterisation. They never show real emotion, bar their usual indignation, false pride and arrogance. In the revived TV series, since 2011, the Sontarans have largely been written as comical figures, particularly Strax; which for the most part, has delivered some wonderful comedy moments and witty dialogue, still quotable to this day. The Classic Series of Doctor Who meanwhile, depicted Sontarans more dramatically, as ruthless, proud soldiers, who while largely unimaginative, did possess a streak of deadly cunning within. They too, had a humorous aspect, albeit more one of satire and irony. I loved both interpretations, and have long been a fan of the Sontarans, since 1973 TV Serial, The Time Warrior has long left an indelible impact upon me, as the story that made me love Doctor Who for the first time. However, the more slapstick version of the more recent Sontaran appearances, has felt a bit of a gimmick at times. So, I like that Terror of the Sontarans treads a neat line between the two versions, partly a greatest hits Sontaran if you like. Certainly, I could listen to Dan Starkey’s Sontaran characterisations all day, on this occasion as the eternally peeved Field-Major Kayste.

However, it sometimes feels as if that’s what the story is counting on. The narrative is very well-paced, the Doctor and Mel initially exploring the broken, and rusting mining facility, generating an intriguing atmosphere, which when put together with the colourful descriptions of the wild planet of rocks and dust clouds, ominously threatening from afar, certainly draws you in. The mystery of the planet, and its powerful telepathic entities, is teased throughout, first with the diary entries of the dead miners, but then ghosts, and then glowing gemstones. However, the arrival of the Sontarans on mass later on, does tend to take over the plot somewhat, and delays the real nature, of the true antagonist, who I genuinely found really interesting.

The Bloom is revealed to be a gestalt living-mineral species, that lives off thought and emotion. The aliens’ first embodiment in the coloured gemstones, first made me think of Marvel’s now well-recognised so-called Infinity Stones, but I was excited when it appeared to be something altogether more imaginative. The gemstones are merely part of a living silicon-based alien entity, originating from mineral elements on the planet, including the equally colourful dust clouds. The Bloom evolves its being, and its intelligence, through the other physical life it can spiritually communicate with, and more threateningly possess. Other fans have mentioned this as being quite traditional and repeated territory for Doctor Who, but as I’m listening to many of these audios out of order, the only references that immediately come to mind are the Kastrians from The Hand of Fear, and the god-like Kwundaar from the audio Primeval. Within Terror of the Sontarans, however, it still feels like a very fresh concept.

Having said that, the nature of the Bloom is held back till part 4 and is mainly used as a new monster of the week to dispose of in double-quick time, without delving deeper into its unusual nature. In relation to the Sontarans as the titular Terror, the Bloom poses an interesting character development in the Sontarans, affecting them by inducing emotion, wild madness, and by Sontaran standards, lack of discipline; but again I feel this is never really fully explored, as a successful opponent against the alien warriors. In that sense, the story comes across as creating two plots, one involving the Bloom, and the other, a welcome revisit to a Sontaran satire; and not really satisfyingly completing either, as each one merely cancels the other out, by the end of events. Similarly, to The Invisible Enemy, the whole climax is dully resolved with a literal bang.

Even more strangely, the Doctor, despite being fairly active in the plot, investigating the shadows and mysteries, in a quiet Troughton-esque fashion; has very little impact on the overall story. Ironically, its largely the Sontarans that are driving the narrative, and the Doctor seems often stuck on the sidelines. While this does ring true with the early Season 24 character of the 7^th Doctor, I can’t help, but occasionally hanker for the more decisive character of Season 25.

Mel, on the other hand, in a very welcome change, sees a lot of the story’s action; once again, wonderfully written against the stereotypical image of the character from her Season 24 TV adventures. Gloriously, Mel holds her own against the Sontarans, and fairly early on, unites all the friendly characters together, against the troubles they face; and proving more than a match for the macho pretences of the Sontarans’ humanoid prisoners.

Speaking of which, these victims, of years of experimental torture, at the hands of the Sontarans; survive, at times, with an amusing variety in states of sanity. Written in-keeping with the more light-hearted tone set by the Sontarans, the collected prisoners represent, less of a dramatic representation, than a motley crew of Douglas Adams-esque characters, with an unusual collection of gimmicks. Anvil Jackson is a wannabe Flash Gordon, hiding a life of regret and insecurity, while Ketch is a circus performer, who can contort his way out of almost any difficulty; Tethneka, the calm spiritualist; and Stettimer, a raging Lobster warrior, and perhaps written homage to Brian Blessed’s glorious larger-than-space performance as King Yrcanos in Trial of a Time Lord: Mindwarp. While they’re entertaining, these aliens are ultimately all just cannon fodder for the ongoing plot.

Equally entertaining, the performances are all full of fun and enthusiasm. Sylvester McCoy and Bonnie Langford delight with an effortlessly warm and charismatic turn, that is far more nuanced than how they were often directed in the TV series, but bring with them all the wonderful chemistry from the best moments of their time together during Season 24 (1987). The undoubted stars of the show, however, are the Sontaran actors, John Banks, and the play’s authors – John Dorney, and Dan Starkey, who are all clearly having a whale of a time. Dan Starkey, always giving an expert and joyous performance as the famed monsters, that is hard not to love, getting their personality quirks down to a tee.

The sound design is also very impressive and makes it very easy to visualise the action; and I just love the music by Andy Hardwick. It reminded me of some of his best scores during the early 8^th Doctor audios. Admittedly, the music does fade into the background, being partly lost amongst the rest of the effects, but on its own, it is very atmospheric and excitingly reminiscent of 80s and 90s Sci-fi Electronica.

Atmospheric and fun, pretty much sums up Terror of the Sontarans. Overall, it’s a very enjoyable romp in a very typical Sci-fi setting, that entertains, with a welcome immersion back into the amusing and fascinating hierarchical World of the Sontarans. All the while presented in a loving evocation of Season 24, with an intriguing, and impressive alien World. I felt a great shame, it ultimately turns into largely something of a run-around with little consequence, but I had a very good time, nevertheless.

Score: 8/10

TV Review 6: The Aztecs, written by John Lucarotti (1964)

Broadcast: 23^rd May – 13^th June 1964

Cast:

The Doctor – William Hartnell

Ian Chesterton – William Russell

Barbara Wright – Jacqueline Hill

Susan Foreman – Carole Ann Ford

Autloc – Keith Pyott

Tlotoxl – John Ringham

Ixta – Ian Cullen

Cameca – Margot Van der Burgh

Tonila – Walter Randall

Aztec Captain – David Anderson

First Victim – Tom Booth

Perfect Victim – Andre Boulay

 

Main Production Credits

Producer – Verity Lambert, Mervyn Pinfield

Story Editor – David Whitaker

Writer – John Lucarotti

Director – John Crockett

Designer – Barry Newbury

Costumes – Daphne Dare

Title Music – Ron Grainer, Delia Derbyshire and the BBC Radiophonic Workshop

Special Sound – Brian Hodgson and the BBC Radiophonic Workshop

Incidental Music – Richard Rodney Bennett

Make Up – Ann Ferriggi

Production Assistant – Douglas Camfield, Penny Joy

Studio Sound – Jack Brummitt, Hugh Barker, Derek Miller Timmins

 

Story Summary (SPOILERS!):

The TARDIS arrives in 15^th Century Mexico, amongst the Tomb of Yetaxa – a High Priest of the Aztecs. When Barbara emerges from the Tomb, the Aztec leaders mistake her for a reincarnation of the High Priest, proclaiming her as a living goddess.

Working as representatives of Yetaxa, The Doctor and his friends are keenly integrated by the Aztecs into their community. However, when Barbara attempts to use her new influence to try and put a stop to human sacrifice, within Aztec culture; the High Priest of Sacrifice – Tlotoxl, is alerted to their falsehood, and seeks to destroy them, putting all the time-travellers in danger.

Desperate to escape, The Doctor finds out about a secret entrance back into the Tomb, while Ian is repeatedly challenged by the cunning warrior Ixta. Meanwhile, Barbara plays politics, using her new friendship with Autloc, the High Priest of Knowledge to fight off Tlotoxl’s various plots against them. Inevitably, Tlotoxl succeeds in discrediting them, and history remains unchanged, but not before the Time Travellers escape back to the TARDIS with their lives.

 

Story Placement

Between The Keys of Marinus (TV Serial) and The Sensorites (TV Serial)

Favourite Lines

Barbara – “That was the tragedy of the Aztecs. The whole civilisation was completely destroyed, the good as well as the evil.”

The Doctor – “You can’t rewrite history! Not one line! …What you are trying to do is utterly impossible. I know, believe me, I know!”

Barbara – “Not Barbara. Yetaxa.”

Ixta – “What better way to destroy your enemies, than to let them destroy themselves.”

Ian – “You can’t fight a whole way of life, Barbara.”

 Ian – “Where did you get hold of this?”

The Doctor – “My fiancée.”

Ian – “I see. Your what?!”

The Doctor – “Yes, I made some cocoa and got engaged”.

Review:

Out of all of Doctor Who’s TV adventures so far (as of 2021), The Aztecs is perhaps the one serial that closest represents the programme’s original remit, set up by Sydney Newman in 1963 – to educate potential young viewers about subjects of history. The opening scene between Barbara and Susan, acts as the perfect beginner’s guide about the Aztec civilisation; a short, potted summary of the established conceptions of them. Later we join Susan, as she is compelled to learn about Aztec traditions. Interestingly, this never really happens elsewhere in the programme. In all history stories, and in fact, all, serials after this, Doctor Who frames its storytelling, from the perspective of the explorer, or the adventurer, whereas in The Aztecs, it is far more, of the teacher. That turns The Aztecs then, into a rare anomaly, considering that even Marco Polo is based on a potential fictitious historical figure. Despite Sydney Newman’s original intentions to make Doctor Who in part, an educational TV show; the pure historical format instead used recorded history as a framework for an original drama or comedy narrative to thrill and entertain. Even a lot of The Aztecs feels as if to have been worked in this manner. And yet the remnants of the programme’s early mission, do make for an interesting curiosity.

Unlike Marco Polo however, The Aztecs, very fortunately never went missing from the archives, and is an unmitigated joy to boot. The Aztecs is a straightforward moral parable, brilliantly told, with a clarity of focus and storytelling, that makes the drama electric! In part, this is because the whole storyline hinges around the fundamental question of whether Barbara, knowing the Aztecs’ dark and doomed fate, should interfere in their society, culture, and furthermore, history; to help make them a better civilisation. Just a few months into its life, Doctor Who is already inviting its audience to consider and question its nature and purpose as a programme. To me, that very point alone, I find truly amazing – that the show is already so fearless, brave and ambitious, that it’s not afraid to go beyond safe, spoon-fed, and disposable television. It’s one of the reasons I love the show, and particularly this era of Doctor Who so much – the depth of the narrative, the rich variety of storylines, the quiet heroism of its lead characters, but perhaps also its unerring ability to make you think.

Barbara’s moral dilemma in this story, has been quantified in terms of time travel – to change the course of history, regardless of motive. The Aztecs interestingly, also marks the first time Doctor Who acknowledges itself, as a time travel-themed show. The grandfather paradox of trying to change history, but inadvertently changing yourself to the point you can’t go back in time, to change history in the first place; is perhaps one of the biggest and most well-known aspects of Time Travel theory, and Doctor Who is already trying to tackle it head on, albeit in this case, in a fascinating way. Barbara’s motives to attempt this are clearly noble – to preserve human life, and the progressive elements of Aztec culture; but the script floats the idea that history can never be changed; that the timelines even fight back to preserve their original shape. The dilemma also throws some interesting development on the Doctor too, who insists that it’s impossible to change the course of history at all. In the decades since, the programme, and the Doctor, clearly evolve their viewpoint on that, to become rather more nuanced. Plus, it’s hard to determine, whether the Doctor’s conviction, is because of his companion Barbara’s inexperience with matters relating to time travel; or whether he’s just aghast at the damage her action may inflict on future timelines. In The Aztecs at least, though, the course of history, in terms of time travel, can only be set once; and is pre-destined to follow its original path.

So, the moral dilemma, gets reset, by the confirmation of history, turning it into a bit of a moot point. Despite the Time Travel aspect though, the dilemma feels arguably more a cultural and political, rather than a scientific one. Barbara is effectively asking the Aztecs to throw away their own beliefs, traditions and accepted histories, even if it doesn’t automatically fly in the face of their values. Indeed, the Doctor’s remonstration of Barbara is also very much about her trying to overturn a whole peaceful society, and send a culture into turmoil, purely to enforce advanced beliefs on them. This may seem doubly abhorrent to the Doctor, given he still sees the 20^th century beliefs of Ian and Barbara’s home, as fairly backward and primitive too. Even Barbara realises this too, when the story’s narrative concludes, harshly critiquing herself, recognising her foolish arrogance. I like though, how the Doctor sweetly comforts her, by confirming that her motives, however misguided, were pure, and that she did at least help one man – the high priest Autloc.

Autloc and the other Aztecs, not to mention the regular characters, all help to give this dilemma and period epic, a sense of dramatic realism, thanks to their detailed portrayal in the script. John Lucarotti manages to craft a well-rounded and convincing civilisation to represent the Aztecs, and most aspects of their basic beliefs and culture. We witness their religious belief in human sacrifice, and the traditions and mythology that has built up around them; education centres that communicate and reinforce those beliefs and traditions; sophisticated gardens; and the staunch military code of honour and glory, of their warrior classes. All these aspects of the Aztec culture are skilfully joined together, and compliment and clarify the Aztecs’ overall worldview.

Autloc is perhaps the most relatable, and accessible member of the Aztecs, as far as the audience is concerned. He has an open mind, always seeking the truth in events, but at the same time, is almost an impartial, even spiritual arbiter; happy to listen to all parties, to help form the best conclusions. It’s this inbuilt, balanced sense of fairness in Autloc, which gives him an unspoken, almost invincible air of respect among the other Aztecs. Autloc, is also unceasingly kind, which in part proves to be his undoing; as his kindness in supporting Barbara, blinds him to the ultimate truth of her deception in being the high priestess Yetaxa.

Cameca, a friend of Autloc’s, is another fantastic, and subtly written character, with a charming sweetness of heart, and quiet wisdom, which The Doctor picks up on immediately, during his desperation to find more information about the Aztec Tomb. I absolutely love the fondness that develops between them throughout the course of the story, as two, free wise spirits find great comfort, in each other’s company. It supplies the story, with some of its greatest moments, and The Doctor accidentally getting engaged is perhaps one of the most hilarious things, to ever happen in the entire show.

In contrast, is the ruthless Ixta, who is happy to befriend and support anyone who will further his ambition to become supreme Warrior. Ixta is wonderfully amoral, with no malice or bad word to say about anyone; but that just makes him all the more threatening as a villain. Ian and Ixta share some excellent fight talk, and banter between them, each teasing the other.

Tlotoxl is the only real exception, to this intelligent characterisation, in that despite his entertaining bloodthirsty, and devilish nature; he frequently comes across as a bit of a pantomime villain; lurking and plotting around every corner; yearning for the time travellers’ downfall. He eggs on Ixta, at his moment of humiliation, knowing that he can use his anger to strike down his enemies, even greater than before. If it wasn’t for his position of status, he would cut quite a pathetic figure.

The regular characters, meanwhile, are rarely better than they are here. All four of the travellers get some great material, although Barbara, understandably gets the biggest spotlight. In some ways, it’s been a long while coming. Ian maybe the most resourceful and daring one, out of the group, but it’s Barbara, who’s proved herself, in many ways, the intellectual equal of the Doctor, and up till now, even the most heroic.

Barbara can’t contain her curiosity at being in the time of the Aztecs, but cunningly finds a way to keep her friends relatively safe in this new, and fairly hostile environment. However, the more she learns, the more her conscience rules her head, so she tries to undo the backward evils of the Aztecs. Her failure, and the subsequent shock at her own naivety, leads her to fall back onto daring, almost courageous acts of ruthlessness, to help keep her friends alive, and stay ahead of Tlotoxl as much as possible. The strength of her character speaks volumes, as even when the situation is at its most desperate, Barbara finds it within herself to fight back against the odds, just long enough, to allow them time to escape again, at the end of the adventure. Barbara forms a genuine and touching friendship with High Priest Autloc, but that too she is forced to sacrifice, in order to, keep the Time Travellers alive.

The spotlight of the narrative also shines a fair amount on The Doctor too, with a sizeable amount of character development. Although Barbara is the first one to venture out into danger, it is now clearly The Doctor that is mostly leading the time travellers’ adventures. His strategies and cunning planning are what ultimately save them from the increasingly unsettled situation amongst the Aztecs; and it’s an interesting contrast when Barbara’s own bold and instinctive decisions, now make her at odds with the group, and put them further under threat. The Aztecs also marks the first occasion where the Doctor reveals any viewpoint or perspective of his travelling in time. Clearly, he’s experienced enough in his travels, to have ascertained a method, or manner of coexisting or manoeuvring among existing historical events and timelines. However, it’s a method that becomes increasingly flexible, or re-evaluated, the further the TV programme develops over the decades. What’s stark about the Doctor’s reaction here, is its one of combined horror, and resolute conviction. Maybe it points to a failed past interference by the Doctor himself, or another in his past experience? Further in contrast to some of Barbara’s actions, the Doctor manages to effortlessly immerse himself amongst the ancient Aztec society, partly through charm and humility, but also through cunning and observance. He works out very quickly, how to communicate effectively, and even makes a cute friendship, with Cameca, curator of the Aztec gardens, which give us some of the greatest moments in the whole of Doctor Who. Even at the end of the adventure, the Doctor, tellingly, can’t even part with the memento, given to him by the dear Cameca. A rare moment of emotion indeed, for the Doctor, during the 60s era. Over the course of The Aztecs, the character of the Doctor warms a great deal; finally becoming the magical, whimsical, but wise, and avuncular hero, that we recognise more readily today.

Ian on the other hand, is given more lighter material to enjoy. Freed up from no longer being the more-serious lead, the character is allowed a lot more fun, while still being the key focus and regular character charged with all of the action. Ian’s quips with Ixta, certainly add some much-needed levity, to the more dramatic narrative around it, allowing for some great character work, away from the stock fights and action sequences.

Being a teenager, Susan is unfortunately still framed in the more adolescent tropes of being timid or rebellious. Nevertheless, she has some important scenes, layering the more rudimental groundwork, about the Aztec culture, without it feeling gratuitous.

In fact, the four regulars are expertly placed in the overall narrative, each having their own miniature plot. Barbara tries to maintain her fake status, as the reincarnated High Priest Yetaxa, trying to keep her friends alive; meanwhile The Doctor gets to know the local society, seeking a way back to the TARDIS; Ian fulfils the Aztec warrior tradition, and ends up competing with their champion; and Susan is forced to endure Aztec education and attempts to marry her off. As far as I know, this is probably the first story, where each of the regulars, are not just well-written, but all get a fair share of the action or plot between them.

In turn these plots, are overlaid with Tlotoxl’s obsession to overthrow Barbara’s false image as Yetaxa and regain his power hold over the Aztecs. Tlotoxl’s almost Shakespearean powerplay, is to endlessly test Barbara and her friends, for any weakness he can exploit; even pitting them unconsciously against each other. Despite his pantomime villainy, some of his traps are subtly put together; so, the time travellers are often kept on their toes. It helps to build to a climax in episode four, where they only just about gain access to the TARDIS, at the very moment, where Tlotoxl has finally won, and the only choice for the Doctor and his companions is to flee. Despite being very hard fought, including Ian fighting off Tlotoxl and Ixta, the hollow victory of escape, presents a rare and interesting downbeat conclusion, that we don’t see often in Doctor Who, perhaps bar Season Three, where the storylines take a much darker tone.

The perhaps darker subject matter though, is made thrilling by some of the electric performances on offer. John Ringham really brings the material to life, with a passionate and articulate performance as Tlotoxl. Although, the script paints the character with a very theatrical personality, Ringham never overplays it, and arguably helps the dialogue feel positively Shakespearean. Ixta is also turned into a convincing and strong villain, with another passionate, visual, and slightly larger-than-life performance by Ian Cullen. Ixta is a very believable warrior, and Cullen clearly enjoys portraying Ixta’s relish at the successful cunning of his own sadism. Keith Pyott, meanwhile, although rather stagey in moments of action, effectively displays the stillness of Autloc’s inner peace and personal wisdom. In turn, as Autloc’s World falls apart, Pyott believably portrays in stark contrast, a man tired of life, and haunted by the turmoil in his mind.

The four regulars, however, are even better than this stellar guest cast, and arguably at the top of their game here. William Hartnell and Jacqueline Hill are, I think, among the best they’ve ever been, with amazing standout performances, full of conviction throughout. Hartnell makes The Doctor, both measured and stern where it needs to be, but also displaying effortless charm and comic timing in the quieter scenes. Even when The Doctor rages at Barbara for interfering in history, Hartnell moves from electric anger, to delicate softness with ease, once The Doctor relaxes and comforts his distraught friend fondly. Jacqueline Hill equally rises to the occasion, with aplomb, putting up a strong face, when Barbara faces the Aztecs, showing her determined courage, but also bringing out her vulnerability at being pushed to limit, in relatable outbursts of emotion. It says a lot, when these scenes stand up against 21^st century drama, over 50 years later.

William Russell and Carole Ann Ford, despite given less to do, also make the most of their screen time. Russell, maintains a confident portrayal, as the ever dependable, loyal and active Ian; well-reflecting the character’s dismay at moments of peril in the narrative, without becoming overtly theatrical. Russell also enjoys the character’s rare moment of comedy, defeating Ixta with a trick of his thumb. Carole Ann Ford, meanwhile, skilfully underplays Susan’s innocence and powerful instincts, giving the character one of her most likeable, and believable appearances. Ford too, enjoys the rare, light moment of levity, injecting some warmth into Susan, during the quieter moments of Episode One, in particular.

While we have those quieter moments, one can easily appreciate the wider, beautiful, and fairly authentic set design on display, by Barry Newbery. Despite, they’re being only a few sets, each one masterfully, and economically depicts a different aspect of both the Aztec World and the characters they inhabit; whether it be the Combat training room, the Seminary, the Garden of Peace, or the much-talked Temple of Yetaxa. Costume design only builds upon that World. Barbara’s outfit is truly spectacular, and the Aztec costumes are visually striking. The backgrounds are admittedly painted backdrops, but even they don’t distract from so much that is well staged. The soundtrack, by Richard Rodney Bennett, is also very good: subtle, mainly using simple percussion, but is very effective, nonetheless.

John Crockett clearly directs the actors very well, encouraging great performances from virtually everyone; as well as staging them into very dramatic positions. He also makes good use of the set design and costumes in shot, to make the production feel far more ambitious than it is, for the time. Unfortunately, because of the time, Crockett is let down, by the awkwardness of BBC TV Cameras, not built for tracking or movement. You can clearly see them struggling to keep up with the fluidity of John Crockett’s vision for the production.

Ambitious, beautifully realised, and confidently written and performed, The Aztecs, despite the occasional light padding, is undoubtedly one of Doctor Who strongest serials of the 1960s. An absolute classic, in fact. The depiction and writing of this historical period, is convincingly realistic, relatable even, due to the fantastic characterisation of Autloc, Cameca, Ixta and Tlotoxl. Even the smaller characters, sketch detail into the rich culture of the civilisation. Within this fantastic realisation, our four time-travellers are thrown into a great parable, of high drama, action and ethical dilemma, really challenging the concepts behind the programme itself. Furthermore, the regular characters emerge stronger, convincing, and more loveable than ever. Barbara arguably becomes as important as The Doctor, bravely fighting the increasingly impossible odds of survival, against the Aztecs, through a mixture of politics and passionate conviction. The Doctor also holds his own, while showing a more vulnerable, caring and romantic side; that really helps bring the magic into the character, not to mention William Hartnell’s increasingly confident performance. The Aztecs stands the test of time, as one of Doctor Who’s strongest period dramas, let alone one of its best pure historical serials. An atmospheric drama, that’s a pure joy to be immersed in, even with some of the dated production values. If only Doctor Who did this much more often.

Score: 10/10