CC9.1 – The Sleeping Blood

Synopsis

When the Doctor falls ill, Susan is forced to leave the safety of the TARDIS behind. Exploring a disused research centre in search of medical supplies, she becomes embroiled in the deadly plans of a terrorist holding an entire world to ransom and the soldier sent to stop him.

Review

The opening act with Susan was simple but intriguing exposition in a classic science-fiction mold, with hearing Ford’s wonderful narration and stepping into young Susan’s shoes exploring an unknown space/alien environment..

But midway the plot of “hacker/terrorist” harnessing for malicious purpose the civilization’s dependent nanotechnology was trite and unoriginal. It sounds more clever here on synopsis, but this is not very original yet worse a bit silly and tired on another trendy topic in tenure.

The promise of a more imaginative tale was dispelling by mech-tech sci-fi (a 90s trend that I wish stayed dead) instead of core classic Doctor Who territory that requires a more imaginative 60-esque Doctor-era rendering truer to form. The problem is tying the plot, machinations (pun), mechs, and nanotech — all recognizably tied to our own contemporary world and, worse, yet another politically (inappropriately) charged theme by obsessed Big Finish writers (and BBC established cohorts), who are apparently unable to harness any imagination or paying any homage or expansion to the franchise they are supposed to be representing.

Clearly the writer has no clue, sense or familiarity with classic Doctor Who, the first Doctor or even basic silver age science-fiction predating the 90’s mech tech fad.

Another wasted opportunity to record with Ford due to Big Finish refusing to employ writers who can write real science-fiction (or centered on ‘Space and Time’ aka Doctor Who).

Terrorists, biotech, cliche political point painfully overdone, what the hell is going on here. [See my other reviews of this dreadful volume, all the stories I have heard are just as bad in their own unique ways]

Not a 1st Doctor story with an simulcra of any real integrity.

The first act had good promise.

Second act – uninspired, deviating,

Third act -total fail with a weak, last ditch excuse to weave in the “time” element.

So it does technically have subpar injection of time and space, but in an obtuse manner, superficial without depth, purely superficial in word, not action or meaning. The problem with these type of stories and their writers is that they have no intent to craft a highly illustrative or original piece of science-fiction aligned with the original era or tell a story to expected general formula but instead pre-plan a politic and associated theme, almost totally detaching from its established character and any serviceable story.

Another total disservice to both utilization of their amazingly talented actor stable (some of whom won’t be around forever – and this is what is so upsetting.. the waste) and to their fans and patrons. There is a problem in-house regardless of the booming popularity. This is what happens when you have a production studio unwilling to progress with knowledgable and skilled writers who are familiar and passionate about the characters and franchise – instead look at the writers, you’ll see no diversity outside a certain group of fellows, all politically and corporately allied. And it shows like a rubbed out bloodstain.

Look at the plots, look at that underlying themes and stories. Not really classic Doctor Who at all. Established voices can only take the material so far. Experiencing these audios shouldn’t be like fishing through garbage to desperately hope and salvage collections of all our favorite actors and characters, amazingly all present and willing. Give them material them meets there potential. The best of stock is all present with the worst or at minimum burned out writers with other things on their mind besides writing a proper Doctor Who adventure.

Don’t employ writers who are not passionate about classic Doctor Who, the era you’re suppose to represent in many of these ranges. Don’t employ writer’s whose only intent to to exploit Doctor Who as a platform to do anything but tell a proper Doctor Who adventure. You have the whole of Time and Space at your disposal and your imagination, if there. Where is it??

This was 1/5.

Director: Lisa Bowerman
Writer: Martin Day

Cast:
Susan – Carole Ann Ford
Kendrick/The Butcher – Darren Strange

CC8.5 – The Beginning

Synopsis

When the First Doctor and his grand-daughter Susan escape through the cloisters of Gallifrey to an old Type 40 Time Travel capsule, little do they realize the adventures that lie ahead And little do they know, as the TARDIS dematerializes and they leave their home world behind, there is someone else aboard the ship. He is Quadrigger Stoyn, and he is very unhappy…

Review

POSTING THIS OLDER REVIEW FROM MY NOTES, OVERALL RATING APPLIES.

A somewhat origin story and adventure, with the Tardis’ first flight from Gallifrey. The Doctor, Susan and… the Quadrigger Stoyn. Featuring the bizarre alien Archaeons. I have had, and still have highly mixed feelings on the Vicki story in Frostfire and especially with Susan story Quinnis [edit: although I have grown to appreciate these a bit more and do enjoy having them in my collection], where the material was very fantastical arguably to the point outside the realm of Doctor Who and firmly into fantasy.

Fortunately with The Beginning, while it does have Platt’s (signature at this point) stamp of fantasy, somewhat even like Quinnis, similarly enhanced by epic visuals and uber-epic sound fx, it is very much old-school science-fiction and identifies with Doctor Who from my perspective.

Platt’s style and the sound production in all the aforementioned and this one are all very sympatico and consistent, which makes me remain curious of them regardless of heavy criticisms, as well as like this one a bit more than I probably should.

As a disclaimer: I am open to weirder, darker and experimental stories, which would describe this tonal rendering or consistency. I have a penchant and desire to collect all possible, “acceptable” early companion stories.

You can say I struggle with Platt’s thus far, but slowly accepting (or trying to accept) them. Pleasantly, this one has been by far the easiest. I can recognize his formula in sync with audio production, and I would not call his style a bad thing at all. It’s unique and has its place.

Per usual Carole Ann Ford is a gem, whose story releases are much too few, or in more recent times, given very poor material. I liked the character of Quadrigger Stoyn, exactly as how he is introduced in the chronology and this release make made look foward to the next two releases in the trilogy. Amusing and surprising conclusion – not very nice! All ties up very nicely with a sense of oddity.

As an afterword, I am going to re-listen to the rest of the trilogy. As far as my recollection though, this story was the only real winner in it (and I say this as a die-hard Jamie/Zoe team fan). But as mentioned I am going to listen and reassess at least the Dying Light. For Susan fans especially though, this is one for the collection.

This was 4/5.

Director: Lisa Bowerman
Writer: Marc Platt

Cast:
Carole Ann Ford (Susan Foreman)
Terry Molloy (Quadrigger Stoyn)

CC6.9 – Binary

Synopsis

A damaged alien computer is being guarded by UNIT troops, but the soldiers simply vanish…

Usually the Brigadier would call in the Doctor but on this occasion the Time Lord is being kept out of the loop. Instead, it’s up to Elizabeth Shaw to oversee the project to repair this alien technology, and recover the missing men.

And then Liz vanishes too.

Trapped inside the machine, Liz faces a battle for survival against a lethal defence system. And this time, she must save the day without the Doctor at her side…

Review

Enigmatic alien computer repair /*pseudo-*/ meets pseudo-tech Carnival of Monsters in quirksmode. Lower-level programming ultimately, yet binary indeed. Good with intriguing setting and real-time mode acting from Caroline John. Another excellent Caroline John performance. A better ending would have ranked this higher. +1 bonus point or on my preferred 5-star scale, +1 invisible point at 3/5. Only the ending was a bit trite as the author obviously is probably not familiar enough with contemporary tech to be more imaginative. Nonetheless, the actual mise en scene is very good. Caroline John was a treasure. I grew up with the Pertwee episodes and took her for granted (there’s a bad pun in there), but this was one of my first Companion Chronicles and I rated it and reviewed this then. In hindsight after listening to many Big Finish (which are either dreadful in writing or more rarely excellent generally – see my other reviews no holds barred), I really appreciate John here and sorely miss her. All here audioplays but one are excellent (Sentinels, which is trash due to writing). This one rides the middle but is still essential regardless as it is still in classic molding.

This was 3/5.

Director: Lisa Bowerman
Writer: Eddie Robson

Cast:
Caroline John (Liz Shaw)
Joe Coen (Childs)
Kyle Redmond-Jones (James Foster)

 

CC6.4 – The Many Deaths of Jo Grant

Synopsis

“I wasn’t going to let this happen. After all we’d been through, the Doctor wasn’t going to die like this, on his knees, in the mud.”

When Jo Grant was very young, her grandmother told her that there was a time for everything. A time to laugh and a time to cry. A time to live and a time to die.

Since meeting the Doctor, Jo has laughed till she thought she might burst. She has also shed a few tears along the way, but has lived more than she ever thought possible.

But now, as a strange spaceship materialises over UNIT HQ and a heavily injured Doctor returns to Earth, it is Jo’s time to die. Again, and again, and again.

Review

First, I have to mention the production, direction, acting faults in my opinion. Katy Manning is great in voicing Jo and performing narration. Sounds great.

However, I personally could not enjoy Manning voicing the Doctor and Brigadier. It doesn’t work due to her voice which is not male and due my own large familiarity having grown up on Pertwee episodes as a childhood favorite.

The proper choice out of necessity would just stick to 3rd person narration. Manning’s Doctor voice eventually becomes less an issue as she has the decent inflections of the voice, but it unbalanced due to shorter of running time of a companion chronicle.

Oddly in contrast there are actually other male characters voiced by other male voice actors, which only enhances the disjointed divide.

Next the music, FX quality and choices are on the poor side making the production and direction, uncommonly lacking to detriment. Too many duties assigned to Manning actually dilutes Jo and overwhelms the listener, making matters far less effective and engaging.

Manning is perfectly capable of performing classic Jo, totally evoking the realism and era but the one-woman play approach was simply too much. Manning has range to play young and old Jo and Iris, the key is to allow here to focus on the core strength and character without overwhelming, as here, which leans toward ham.

A pure, singular (in tonation) and less schizophrenic voice-acting would have been a better approach. l usually don’t feel the need at all to criticise or be bothered on the acting/production front, but while the effort was present, I felt many elements just didn’t gel together, and it took awhile to overlook and settle in the story.

Unfortunately I also found the story equally confused and disjointed and frankly the reveal, aliens, and premise pretty weak. New school writing, oh and by the way, it was a bad tease to enter the Brigadier into story, voice him oddly and then erase. Bad tease. Nothing wrong with having a story with Brigadier simply narrated out of necessity, but instead I get hoping and wondering about the Brig but instead got an alien villain I really don’t care to hear from again.

In all fairness I did note the writer’s purpose in ultimately providing a touching sentimental conclusion but for the aforementioned reasons, this never surfaces correctly or with impact and ends just as oddly.

Manning’s performance in narration is really the only redeeming feature with figurative glimpses of Jo, alive.

…Greatly diminished end-theme, at least on first listen requiring willness to attempt multiple rebound listens in future. But I will personally pass and hope for better Manning/Jo Grant releases.

This was 2/5.

Director: Lisa Bowerman
Writers: Cavan Scott, Mark Wright

Cast:
Katy Manning (Jo Grant)
Nicholas Asbury (Rowe)

CC5.10 – The Sentinels of the New Dawn

Synopsis

Some time after leaving UNIT, Liz Shaw calls the Doctor to Cambridge University, where scientists are experimenting with time dilation. A device hurls them to the year 2014, and a meeting with Richard Beauregard, heir to the Beauregard estate.

But theres something rotten at the core of this family The seeds of a political movement that believes in a new world order.

The Sentinels of the New Dawn are stirring. And their malign influence will be felt for centuries to come.

Review

I HEAVILY RECOMMEND ALL 4 OF THE OTHER CAROLINE JOHN/LIZ SHAW COMPANION CHRONICLES — BUT THIS RELEASE IS A TOTAL FAIL.

They are easily some of the very best releases in the entire Big Finish catalogue.
This on the other hand is…

ORIGINAL RAW REVIEW NOTES

dreadful. incredibly poor writing based on empty post-modernism and minus any creativity, intellect and imagination crucial to good writing. this is bad writing and could be argued also equally poor editorial decision pushing subversive bad politics on its listeners (conveniently in 2014). A real shame, go figure with the setting of story – a UK university in 2014. Storywise out-of-place in Doctor Who and simply pointless and boring. The poor writing unfortunately shows painfully in the reading/narration and certainly does not reflect the character. A waste of one of the few precious Caroline John stories and from an otherwise near perfect set of stories. Skip unless you pride yourself as being part of the real new world order and literary fascism movement of a radical far left (edit: meaning not a “traditional liberal left” btw but propagandists who seek to spew caricature to aid their subversive assault on any media platform in order to champion their own perverse sense of politic – not altruistic but exploiting Doctor Who for specific agenda). Whether or not you drop any contemporary insinuation, in any case if simply chalked up to its simple evil world domination super-generic villain, the story itself is just..a total waste, sabotage, and polar opposite to the other Caroline John Companion Chronicles in quality.

This was 1/5.

Director: Lisa Bowerman
Writer: Paul Finch

Cast:
Caroline John (Liz Shaw)
Duncan Wisbey (Richard Beauregard)

CC5.3 – Find and Replace

Synopsis

Christmas 2010, and Jo Grant finds herself stuck in a department store elevator with an alien creature called Huxley.

Huxley is a narrator from Verbatim Six, and he is here to let Jo revisit the best time of her life – when she was the plucky companion to that eccentric Space/Time traveller known only as… Iris Wildthyme.

Confronted with memories she knew nothing about, Jo agrees to a meeting with Iris inside her transdimensional bus, and together the three of them take a trip back in time. Back to the 1970s, to UNIT HQ, and a meeting with the only person who knows the whole truth…

Review

FALSE ADVERTISING AS FAR AS BEING A REAL JO GRANT STORY OR ADVENTURE — AN ATTEMPT TO BANISH THE OLD (VINTAGE FANDOM AND CHARACTERS) AKA FINDING A REPLACEMENT

This is like the nice old guy at work, totally talented and able to do the job, but not serviceable by management’s eyes for the future, so we better find and replace, or attempt to instill a replacement asap.

“The agenda here is an attempt to exit stage left and replace both the Doctor and Jo with Iris Wildthyme as feature character”

As a sidenote: watching every episode with Jo Grant, repeatedly on VHS in the early 1980s as a child, I was obviously not happy with this release. Literally the antithesis. Jo’s trait was loyalty, something that obviously means little today and it shows here as it is 110% the motive and theme/plot. Also, Katy Manning sounds great as Jo. I understand at this time Pertwee was gone and there was no replacement probably in sight, but couldn’t we get ANY straight Jo Companion Chronicles to honor, respect and be loyal to the past. It would have been nice to have a good Jo story voiced by Manning as Jo, as she is certainly capable of doing just fine? No, we can straight attempts to focus and push the WildThyme character instead. Thanks for extinguishing, purposefully the memories.

—–

First 5 minutes I thought this Jo companion chronicle night be a good one but… then I hear that the strange man pesting Jo is the extremely annoying irritant known as the… Noveliser. Huxley the Noveliser. Damn it. I loathe this character, who I believe is the one and same as in the Turlough companion chronicle I also hated.

The stories featuring this framing character is usually the antithesis of a proper Doctor Who adventure or story and cheap excuse to squeeze out weak character back story or weak ideas to fill an hour at the expense of writing an original tale.

But as I would soon find out, this is not exactly the case here. Yet, It’s still pretty much an instant “find another and replace” in my audio book.

It’s basically a bad new school pseudo- “Jo” story. Enter Iris Wildthyme. Instead of “Find and Replace,” perhaps a better title might have been “Bait and Switch.” More evidence of the complete absence of Iris on the cover art. Not very ethical for those expecting a true Jo story, when it obviously features Iris Wildthyme (and her magic bus) story front-and-center with Jo relegated to literal and figurative background companion.

For younger listeners who may have grown up first experiencing the Doctor Who 2005 series this might be more acceptable. However, as in my case with those who grew up watching the 3rd Doctor and Jo Grant and really would want a Jo Grant companion chronicle with the sorely missed 3rd Doctor in Big Finish and all these decades later, it a might be a great disappointment, especially due to the cover promise which is no way implies 2 totally new school characters within a new school framing devoid of any classic appeal.

Worse in the final 20 minutes, the plot reveal involves the Doctor and Novelisor, spoiler be damned, which is really in truth an attempt to erase Jo off the canonical books replacing her with Wildthyme — a shockingly horrible way to test the waters in writing off Jo and a disservice towards the character’s foremost trait of loyalty to the Doctor.

Where is the loyalty of the writer and Big Finish here? The agenda here is an attempt to exit stage left and replace both the Doctor and Jo with Iris Wildthyme as feature character really (at least perceivably at the time of this release). Shockingly poor decision and a warning Caveat emptor for those considering releases.

PS. The Novelisor also mentions Google and Google Earth, seriously. Pathetic. Press erase permanently. Sorry, find and replace the Doctor not acceptable, and if you agree then in any case this release has to be a grand failure and waste. Bad plot shadily executed to introduce and force Iris Wildthyme on listeners, resulting in a loss of trust..

The title is fitting in the worst way possible.

This was 1/5.

Director: Lisa Bowerman
Writer: Paul Magrs

Cast:
Katy Manning (Jo Grant/Iris Wildthyme)
Alex Lowe (Huxley)

CC5.1 – The Guardian of the Solar System

Synopsis

Space Security Agent Sara Kingdom is dead, her ashes strewn on the planet Kembel. But, in an old house in Ely, Sara Kingdom lives on…

Now joined in the house by her confidante Robert, Sara recalls her travels in the TARDIS with the Doctor – and a particular adventure when the ship appeared to land inside a giant clock, where old men are caught in its workings…

And behind this nightmare is an old enemy: Mavic Chen, Guardian of the Solar System.

Then and now, Sara’s past is catching up with her. The cogs have come full circle…

Review

Part of classic, essential Sara Kingdom trilogy.
OVERALL TRILOGY RATING 5/5.

Again, like the previous installment in the Sara Kingdom Trilogy, things really gel in the second episode. A rather perfect balance between framing story and individual story, yet more of an expansion of the former and of course the trilogy conclusion.

It’s also a balance or mixture somewhat between the styles of Home Truths and The Drowned World in this regard, making this story a fine solution and all releases and excellent set.

Once you can truly embrace Home Truths, I recommend making your way forward to this release for a deservedly classic audioplay trilogy. The element to really appreciate or savor in Guardian is Jean Marsh’s amazing performance in maintaining her unique character Sara Kingdom all these decades latter. The final moment is perfection.

This was 4/5.

Director: Lisa Bowerman
Writer: Simon Guerrier

Cast:
Jean Marsh (Sara Kingdom)
Niall MacGregor (Robert)

CC4.9 – Shadow of the Past

Synopsis

There’s a secret locked up in UNIT’s Vault 75-73/Whitehall. Dr Elizabeth Shaw is the only one left who knows what that secret is.

Returning to UNIT for the first time in decades, she slowly unravels the past. The vault contains the remains of a spaceship that crashed in the Pennines in the seventies.

For the young Liz Shaw, the priority is to ensure the thing’s safe. But the Doctor is more concerned about the alien pilot. And the chance this ship offers for escape. Can he resist the temptation, or will the Doctor turn on his friends?

Review

Good old yarn, UNIT and London-based with the 3rd and Dr. Liz Shaw reminiscent of classic Pertwee era with an added dose of 50s Sci-fi. Per usual Caroline John offers superb A+ masterful narration, a pleasure where i see and hear the same era and characters as I did as a kid. Fantastic story that evolves into something more.

One of the best…

This was 5/5.

Director: Lisa Bowerman
Writer: Simon Guerrier

Cast:
Caroline John (Liz Shaw)
Lex Shrapnel (Marshall)

CC4.4 – The Pyralis Effect

Synopsis

Long ago, the planet Pavonis IV was saved from certain destruction by the Doctor. Now it is dead, laid waste by environmental catastrophe, but a few survivors and their precious race bank survive on the starship Myriad. Their mission: to scour the universe for the fabled dimensionally transcendental obelisk in which their saviour travels, and persuade him to save their world again.

As the TARDIS arrives, by chance, on the Myriad, the Doctor and Romana are just in time to see the crew achieve their goal. Or so they think Death stalks the corridors of the ship, the artificial intelligence CAIN has lost control, and a force is about to be unleashed that threatens the entire galaxy.

Review

Spontaneous thought: “Lalla Ward needs to do more Companion Chronicles and conventional deep space, bizzare adventures.”

FIRST IMPRESSION BUT NOT THE LAST(ING)
I think this story by summary should have been more exciting as it sounds so good on paper, but I believe the writing and dialogue or wording just made this one bland. It’s like script needed to be converted to dialogue for full cast with distinct better fleshed out characterization instead of a singular narration. The intro song/fx was good setting the scene but swiftly went from “stereo to mono” oddly fitting monologue for first half. Second half picked up and became more engaging with additional voice and characters.

SECOND LISTENING
The audioplay painted a eerie space atmosphere matching 4th Doctor territory to the T as well Lalla Ward’s literally timeless voice and reading ability, which ultimately won me over.

The Doctor is present but oddly absent, rather aloof and popping jelly babies in the background, and there is a pretty implausible setup of the Doctor and Romana coincidently landing on the ship that is looking for the Doctor, which is an issue of setup that needs to be overlooked.

My initial reaction and listening was not exactly favorable nor memorable—forgetting I even listened to this release again, I liked it better.

Why? I really enjoy Romana and claustrophobic or deep space adventure. The weird android and even the “silent” Doctor effect make this odd and truly a Romana tale, if one-sided. So in several ways this is flawed but if you are in the mood for a dash of Romana and love her voice and character, and a decent length space-ship adventure, it is worthy for the collection as some of its negatives including memorability strangely and possibily work in its favor for repeated listens.

Both its presentation and story are quirky and to appreciate it, a willingness to re-listen is probably necessary.

This really is the forgotten jelly baby found lint-covered in Romana’s big pocket.

Seemingly very tepid after first exposure, my fungal impulse is to now bump this up a notch to a solid 3, hate turns to love, so I will. Hell, now I like this thing quite a bit. So… from Romana’s pocket.. Jelly Baby?

This was 3/5 solid.

Director: Lisa Bowerman
Writer: George Mann

Cast:
Lalla Ward (Romana)
Jess Robinson (Suri/CAIN/The Pyralis)

CC4.1 – The Drowned World

Synopsis

Space Security Agent Sara Kingdom is dead, her ashes strewn on the planet Kembel. But, in an old house in Ely, Sara Kingdom lives on

To the Elders of this ruined world, Sara is a ghost, a phantom that must be excised. She must prove her right to exist, and she does so with stories. Stories of a time when she travelled the universe with an ancient Doctor and his heroic companion Steven inside a magical space/time ship called the TARDIS.

And one story in particular could make a difference. The one about their trip to a world covered in water, where a human expedition is being wiped out. Its a battle to survive, as the travellers face the horrors of the drowned world.

Review

Part of classic, essential Sara Kingdom trilogy.
OVERALL TRILOGY RATING 5/5.

First episode is not very exciting or important, but the second is where the gist, main story and action take place.

This second half is where I suddenly remembered I listened to this story before and yes it was good and memorable in the retrospect or rather in context of the Sarah Kingdom ‘chronicles.’

The superficial story of the cool concept of the “drowning ship” isolated in space, merged with the type of alien enemy situation, a desperate situation, and intertwined metaphors from within both the overriding framed trilogy section and individual story and is both experimental and brilliant.

Again, like Home Truths in this trilogy, this second release requires repeated listens and the willingness to hear each story to its end as individual pieces of experimental fiction that are firmly fixed as a crucial telling of Sarah Kingdom’s place in Doctor Who, yet in an unorthodox but, in retrospect, excellent manner.

Perfect for a collection and part of a trilogy warranting multiple, distanced listening sessions that will only become revelation through time and space itself. An excellent companion piece to Home Truths.

This was 4/5.

Director: Lisa Bowerman
Writer: Simon Guerrier

Cast:
Jean Marsh (Sara Kingdom)
Niall MacGregor (Robert)

CC3.7 – The Transit of Venus

Synopsis

The year is 1770, and daring explorer Captain James Cook and his crew on the Endeavour are navigating the Pacific Ocean.

Into their midst come strangers: the Doctor and Ian Chesterton, who are believed to have come from Venus. But the TARDIS is lost to them – along with both Susan and Barbara – and Ian makes an enemy of the ship’s chief scientist, Joseph Banks.

Why is Banks acting strangely? Could it be that the travellers are not the only visitors from the stars?

Review

RECOMMENDED, IF FLAWED – GREAT WILLIAM RUSSELL READING
Solid 3/5 STARS

Engaging 18th Century sea voyage and story with a major concern lurking underneath the surface.

Midway through first episode I was hooked. Great reading by William Russell.

Unexpectedly, given the subject matter perhaps, this is a good first Doctor historical that offers some intrigue, strong writing in the first episode (only) and imagery, befitting first Doctor era with some appropriate character depth for Ian.

Generally good early Doctor era mystery territory, even a subtle dash or two of black comedy (methinks) and bit unique. Like a well-twined rope or wound sailor’s knot, the suspense had me to the end.

Though the end events/reveal with certain companions is flawed and highly implausible – the super-human physical events (minor questioning towards motives of writer, which is disappointing here) and unnoticed proximity of “vessels”, etc etc – plain and simple – flaws, which brings the story down a good notch at least, while the mental aspect or ending relating to the sensorites was a good concept.. (edit: and relative to continuity, which with similar elements serves as a partial base for a minor rating upgrade)

It is a real shame for the story goes from potential gem to sketch — maybe even simply passable beyond a well-deserved virginal experience in regard to actual story or event itself. If this was a 2-hour expanded feature explicating the other companions events and action, I think the problem of the resolution might have been solved or believable. Additionally with those issues resolved, and extra expanded voice cast, this would be a brilliant play.

As it stands, still good as a story sketch (I am on still on the fence whether the final act can be overlooked for now at least/on update: it fared better or excusable) but worthwhile for a listen in any case. The first half is great..damn. Rating this as a compromise between two extremes.

UPDATE/UPGRADE: The end act did not annoy as much in the initial listening and relative to this was my appreciate and desire to hear the William Russell reading again (thus some replay factor). Russell is just so pleasing and thus the audioplay is worth periodic replays — and along with re-watching some of the contiguous classic television stories (The Sensorites/[insert: Transit of Venus]/Reign of Terror) potentially.

Regardless of any issues or even the plot, which is not necessarily that replay-worthy beyond an interesting sketch overall perhaps, there is some good atmosphere, reading and hint at magic or poetry with Russell at wheel. So from 6/10 to 7/10 and highly recommended for 1st Doctor and Ian fans. It is a William Russell gem. Something to be thankful for in any case.

This was 3/5.

Director: Nigel Fairs
Writer: Jacqueline Rayner

Cast:
William Russell (Ian Chesterton)
Ian Hallard (Joseph Banks)

CC3.5 – Home Truths

Synopsis

There’s a house across the waters at Ely where an old woman tells a strange story.

About a kind of night constable called Sara Kingdom. And her friends, the Doctor and Steven. About a journey they made to a young couples home, and
the nightmarish things that were found there. About the follies of youth and selfishness. And the terrible things even the most well-meaning of us can
inflict on each other.

Review

Part of classic, essential Sara Kingdom trilogy.
OVERALL TRILOGY RATING 5/5.

Very memorable haunted house mystery type of story with science-fiction and classic early Doctor Who aesthetics that reveal themselves through repeated periodic listens.

If a space security agent Sara Kingdom (or English jewel actress Jean Marsh as..) companion intrigues, then this tale should eventually win you over.

The sound production is good and aids the story but does have its technical flaws of overuse of repeating samples! But strangely it kind of works as a sort of experimental audio along with its darker ambient sections.

After a few spaced out listens and getting used to an older Jean Marsh who does excel in a subtle and fine performance and whose career I am too familiar with outside of Who, I’ve grow to appreciate this one and now love her as Sara Kingdom, albeit experiencing her character as performed by her now all these years later finally.

The atmosphere of house and its sci-fi odd workings did in fact firmly and immediately evoke 1st Doctor territory in a sort-of a 60s-Doctor-Strange, dark proto-psychedelia making this a success on all levels. The cover art advertises this perfectly.

Really a (near) masterpiece cohesive with an early Doctor Who era sensibility (equals treasure) but it takes effort, the right space and some time to get there perhaps.

PS. Regardless of this being part of a trilogy of stories, I prefer this one fine as a standalone experience and what it is – a Doctor Who odd science-fiction ghost story. (And the overuse of ghost stories, which exists in the Big finish catalogue, I find personally find very grating and tired otherwise). This is a bit different with obvious connections and strange fabric to the Doctor Who universe in an interesting way, to its credit in more of a figurative manner.

With some objective refinement for, my representive ratings would stand as “excellent” or 4/5.

This was 4/5.

Director: Lisa Bowerman
Writer: Simon Guerrier

Cast:
Jean Marsh (Sara Kingdom)
Niall MacGregor (Robert)

CC3.1 – Here There Be Monsters

Synopsis

A new adventure with the First Doctor as told by his grand-daughter, Susan.

It was a terrible sound, like someone had just stabbed the Universe and it was crying out in pain

The distant future. The TARDIS, with the Doctor, Susan, Ian and Barbara aboard, is drawn out of the Vortex and lands aboard the Earth Benchmarking Vessel Nevermore, where Captain Rostrum is navigating by punching holes in the very fabric of space. The Doctor is appalled by this act of vandalism, and fearful that it could unleash monsters from the dark dimensions.

As the benchmarking holes begin to fray, the fate of the universe is at stake. And while the Doctor contemplates a terrible sacrifice, Susan befriends the Nevermores First Mate – someone she will remember for the rest of her life.

Review

A great space adventure in the far future somewhere probably a only few light years away from Earth in deep space.

Susan, the Doctor, Ian and Barbara. A mysterious vessel, space vegetation, a mysterious figure, isolation and the vast emptiness in space.

Punching holes in dimensional space. The interior of the vessel: wallpapered with vines, some yellowing and withering.

All very good heady science-fiction at play. Solid state sound production (tinny, metallic, refined and fitting – subtle, appropriate) to aid and help paint an eerie ship and outer space scene. Very good to excellent writing and script.

Honestly I could give this 4 across the board regarding all production elements, with the exception of Carol Anne Ford who must receive ultimate top marks who presents the story from Susan’s point-of-view along with voicing the other crew to perfection. The other voice actor also was a perfect aid and great balance – an interesting character.

I could really rave about all the actors, Doctors and companions in these audio productions, but Carole Anne Ford is very special as proven over a few essential stories to own for the library. She is a talent and a perfect model for voicing, narrating stories such as the Companion Chronicles. She has a few really good stories thankfully and this is one of them. I love Carole Ann Ford’s performance and voice. It’s just great, where I can’t say enough and thankful for it.

The writer also impresses, simply giving a well-thought and satisfactory space adventure. One that does tie in to continuity but more importantly crafts a clear story that allows the sound production and reading to shine.

Again solid 4s (plot, acting, sound fx, and replay value) but as an overall package: an easy 4/5.

While there were only two great actors on display here, it really doesn’t matter. They fill the void literally and figuratively. And the story matches the economy of the format and running time.

I liked this one a lot. It’s a slower burn but the type of audioplay I like to hear. After it’s over, and perhaps after a future repeat listen, ask yourself two questions:
1) It the concept simple but intriguing where it might not blow you away but is it worth thinking about for a quick ponder, do you experience the universe of First Doctor, and Susan?
2) Is it worth rinsing with some Time and repeating punching another hole for in the future?
As a Doctor Who fan who seeks and wants the vintage experience or engimatic space adventures, for me it’s a yes. Conceptually and according to the established book of Who, I give this high marks.

Also it’s a good Carole Ann Ford one to have for the collection, and to enjoy many more times in the future.

It’s light and just about right. The final question that surfaces for me is: Are you experienced? (As I hear reverberating electric guitar notes emanating out forward and across the interstellar horizon and winds of Time, rippling in sleek black gravitational space waves)

I recommend some quality headphones and pitch black darkness with at most a faint light in the distance.

A worthy Doctor Who audioplay, sporting an easy 4/5.

Director: Lisa Bowerman
Writer: Andy Lane

Cast:
Carole Ann Ford (Susan)
Stephen Hancock (The First Mate)

CC1.3 – The Blue Tooth

Synopsis

“I suppose that was one of the Doctor’s most endearing qualities: the ability to make the bizarre and the terrifying seem utterly normal.”

When Liz Shaw’s friend Jean goes missing, the Doctor and U.N.I.T. are drawn to the scene to investigate. Soon Liz discovers a potential alien invasion that will have far-reaching affects on her life and the Doctor is unexpectedly re-united with an old enemy.

Review

This is one of the 4 of 5 great Caroline John narrated stories. Another little treasure. Recommended with Shadow of the Past in particular.

PASTING MY OLD RAW REVIEW NOTES (NOT) VIA BLUETOOTH.

mysterious, feels late 60s in atmosphere as conveyed by Liz and an early introduction to cybermen, particular “blue cyberman.” successful and 3rd doctor era or cyber-fans (like myself as i have always been over the daleks) will certainly want this. excellent. it is a major tragedy that Caroline John couldn’t do more of these, her narration exceeds containing acting and perfection in storytelling as well as mirroring Liz, past, present and almost future. A favorite in Big Finish, and now in the entirety of Doctor Who. Brilliant work and this story included. Good production writing, verbiage and fx as well.

This was 5/5.

Director: Mark J Thompson
Writer: Nigel Fairs

Cast:
Caroline John (Liz Shaw)
Nicholas Briggs (The Cybermen)

CC1.2 Fear of the Daleks

Synopsis

Why has Zoe Heriot been having nightmares about the Daleks? Who is the Doctor, a mysterious man from her past? When an evil scientist hijacks her mind to control a galaxy-conquering weapon, Zoe must stop him. First, she and the Doctor will face an enemy they had thought destroyed forever.

Review

Other negative reviews I have read are totally unwarranted or don’t hold water in my opinion. Fine narration and emotive performance (especially after episode 1) by Padbury, including interplay with multiple characters and voice-acted Daleks that are in fact the crux of the story and present.

So… my review inevitably must go full-force into defense mode as this is the perfect story and after listening to well over a hundred releases at least, I can only imagine that the negativism has gone onto to shape “old” Doctor Who into convoluted new post-classic era, post-science-fiction territory and aesthetic. I definitely had read other reviewers online who have a total disdain for anything but a re-invention of the wheel, looking for some sort of constant expansion universe, instead of inventive adventures in figuratively familiar time and space!

Clear — not boring at any point (unlike its predecessor release, which I do actually like regardless for Maureen O’Brien’s performance) and is very much in the exact vein of 2nd Doctor. I listen to Doctor Who to get clear classic stories that have integrity and embody what it means to be and reflects the classic era, as advertised on the covers. This is such a story, and excellently so. I have to question whether harsh naysayers even enjoy original Doctor Who or prefer stories that extend beyond what the show was, or want character drama or stories that seek to deviate and detach instead. In light of such harsh others reviews that seem to rehash same points, some not true, I defend this clear, digestable and unconfused straight-laced story.

Great fx and use of music, narration and a decent story, for fans of the classic series and Zoe. Classic mold Doctor Who (for kids as well as those who grew up watching the original series) and far from being a blunder (quite the opposite) that others have suggested. One reviewer called this a sad mess, which I find ridiculous and must aggressively disagree because if that were to be true, literally 95% of the entire Doctor Who TV series would also be crap and the same. Out of many Companion Chronicles, this one of the closest in feel, writing and plot to a vintage episode reflecting this team. It’s a crucial imo. File under old school. By Dalek anatomical terms, this one definitely tickled my one-eyed protuberance. (Got a problem?)

Have no fear going into this one, if you have desire and pride in classic Doctor Who… You’ll at least get a decent audioplay here, regardless of my love, and definitely not subpar. This was, refreshingly, one that I was actually happy to have picked up and issued a very rare 5/5. I read many negative reviews first, but finally buckled being of a fan of Zoe (and the stellar Padbury), got this on-the-cheap and had to give this a listen. Turns out it was opposite of “a mess” and taught me to listen for myself, and not only that, but to gauge other frequent reviewers, many of whom are apparently at odds with my tastes.

My tastes admittedly do leaning towards firm classic science-fiction territory, not totally new renderings or one-sided political partisan preachings or portraitures. I listen for fine perfomance and relaxing or solid Who stories; don’t expect masterful writing from the limited and sometimes bigoted or BBC-affiliated writers that Big Finish only commonly employs to-date and who push neo-liberal politics or worse distorted views on history at times. (Honestly, read my slamming reviews when I post them). That last harsh but true point said, and since I painted myself so ferverently old-school: Some of my favorite stories are found in all ranges from all the Doctors including some “new-school” material, however, it is my opinion that classic Doctor Who rendered adventures are largely missing – and as a longtime fan and listener/reader I just don’t have faith in the writers out there. Big Finish does not really offer much diversity (real diversity – meaning writers who can actually write science-fiction and appreciate core classic Who beyond their own agenda), and I can follow these implied associations back to BBV days forward aligned with “Doctor Who 2005” (that is what is what at first, 2005 not classic and before they decided to drop the label after the mainstream popularity explosion). Some fabric of space has been torn at this time but the oddly low ratings for this release. This is easily one of the best Big Finish, with nothing offense, but perhaps that depends if you enjoy the 2nd Doctor era and Zoe. Props to Padbury, a total gem and literally timeless in her abilities of performance and voice.

This was 5/5.

Director: Mark J Thompson
Writer: Patrick Chapman

Cast:
Wendy Padbury (Zoe)
Nicholas Briggs (The Daleks)