The Dominators.
Ahh, The Dominators. For Who-fans
of a certain age, The Dominators holds a special place in our hearts, along,
bizarrely, with The Krotons. They were among the stories chosen for a rare
celebratory black and white repeat in the Eighties, and so, for some of us, The
Dominators is one of the first times we actually got to experience Patrick
Troughton’s Second Doctor.
So, score one for nostalgia.
What’s more, The Dominators of course was
originally written by Mervyn Haisman and Henry Lincoln (under the pen name of
Norman Ashby), and they were the people who brought us The Abominable Snowman
and The Web Of Fear, so there’s some solid Troughton-writing pedigree there.
What’s even more, the Target novelisation was
written by Ian ‘Harry Sullivan’ Marter, who had a distinctive, often highly
evocative style, with which he frequently brought stories to very vivid life.
And if you want a kicker, the audiobook is read
by Michael Troughton, who, like his brother David, has a distinct knack of
imitating his father Patrick’s delivery.
So, what could possibly go wrong?
Honestly, one or two important things.
Nostalgia is great in and of itself, but it
does odd things to the memory. You begin to remember some things through
rose-tinted glasses. The Dominators’ storyline of the ultra-passive Dulkians
and how they cope with the invasion of aggressive bully-boys from outer space
was an idea which had a resonance on every playground in the country – the mean
boys coming to basically steal the nice boys’ lunch money, push them over
and…well, blow up their planet, but it’s a story that suffered somewhat by the
fact that the Dominators land on an isolated island, on which the Dulkians
don’t actually live, so to get any interaction between them, you have to endure
a shuttle ride which eats up time while characters chew the scenery. It was a
story that also suffered from budget issues, with the result that the Quarks,
the robotic servants of the Dominators, by whose destructive power we’re told they’ve
conquered ten galaxies, look utterly illogical, and like they’d only take one
good shove to put out of action with no hope of righting themselves. There’s
some evidence too that Haisman and Lincoln were not on their top form here –
indeed, this was the last story they wrote for Doctor Who, and a whole episode
was cut out of the story. It’s unfathomable what they would have ultimately
filled another 25 minutes with, because as mentioned, The Dominators is a story
that depends on busing the Dulkians in to be menaced, or on one important
occasion, having the Dominators take a shuttle ride to shout at them where they
live.
And, perhaps more than anything, the
Dominators’ defeat is made a certainty not really by anything clever the Doctor
or his companions do but by their own gullibility, sloppy methodology, and in
the case of the Trainee Dominator, Probationer Toba, his anger management
issues. The Dominators is a kind of science fiction version of a visit from
your old school bullies.
The novelisation, to be fair to it, smooths out
several of the rougher and more ludicrous edges of the story – the Quarks in
particular are notably improved by Marter’s descriptions of their semi-humanoid
giggles and speech patterns, making the somewhat ridiculous visual impact of
their appearance on screen blur into intriguing acceptability, making you think
‘Ten galaxies, with these things? Yyyyeah ok, maybe.’ This is a thought that
never, ever, ever occurs to anyone watching the Dominators on TV, so it’s
another point in favour of experiencing it as an audiobook.
Here’s the rub though. While Michael Troughton
does a good job of rendering his father’s Doctor, and also of his companions,
Jamie and Zoe, there’s very little in his voice that reaches the levels of
viciousness you need to be a Dominator, leaving you rather aware that with
their entirely demented plan (stolen, incidentally, more or less wholesale from
the Dalek Invasion of Earth, and later recycled almost wholesale again for a
strand of Attack of the Cybermen), their gruff male power struggles (imagine
going on holiday with the most petty driving instructor in the world and then
add guns to get an idea of the dynamic), and their deeply unusual visual
rendering, with enormous shoulder-pads dwarfing their heads so they looked – as
Marter describes them more than once in the novelisation – like upturned
turtles, the Dominators themselves, played by Ronald Allen and Kenneth Ives,
are an absolutely vital part of keeping the viewer, the reader or the listener
engaged throughout the run-time of the story, and if you fail to properly
capture the oomph, the arrogant macho oomph of those characters, you invite the
listener’s mind to wander through what is actually a rather pedestrian story.
In fairness to Troughton, there are a couple of
key moments when he gets the gruffness and rage of the Dominators into his
voice, which helps to get you through – in his rendering of Toba’s gleeful
rages of destruction, he hits it squarely, and in potentially the most crucial
scene of the story, when Dominator Rago schlepps over to address the Dulkian
council, the arrogance and hubris is in full flow, which it needs to be – the
scene is the crisis-point of idea-clash in the story, where if the Dominators
had just asked for help, the Dulkians (a singularly uninspiring bunch in every version
of the story, and intentionally so) would have given it to them freely, but
Rago announces he takes what he wants, and what he wants are slaves. That
intransigence, that sense of superiority, is why the Dominators can’t have nice
things – not only are they mean boys who won’t play well with others, but hey
have no manners either! Again, it’s clear that The Dominators is a story told
on every playground, a spacefaring fairytale where the wizard and his friends
help the villagers defeat the bullying giants.
Does it work as an
audiobook?
Yes and no is the honest
answer. Ian Marter’s prose does two contradictory things - it makes the Quarks
more interesting than they were on TV, and the Dominators less so. Troughton’s
reading, likewise, gives good spacefaring hero and good innocent Dulkians, but
only occasionally really gets the growl that makes the Dominators such
interesting, misanthropic, quarrelsome gits on screen. The overall balance
feels off, and while there are very many worse ways of spending
four-and-a-quarter hours, the pedestrian story and the lack of the vocal
commitment to its central villains makes The Dominators audiobook feel like
more of an also-ran title than it should be.
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