Tony’s running off with Captain Eyebrows.
Unless or until Peter
Capaldi joins the crew at Big Finish, and probably even after that if David
Tennant’s anything to go by, Jacob Dudman will be the Big Finish Twelfth
Doctor.
He’s played him now in a
couple of Short Trips, and if there’s a tinge on Ten underneath the sighing
weariness of Twelve, that’s not a problem – in fact, it’s almost spot on for
the character himself. With Dudman’s Twelve joining his Ten and his Eleven in a
set of Chronicles, Big Finish is taking a big leap – Short Trips are one thing,
but the Chronicles are something entirely else. In the first place, they’re
multi-cast adventures, and in the second, they have more time, and a broader
scope with which to show off the Twelfth Doctor’s personality at various points
in his life – but that comes with more opportunities to get things badly wrong.
Would you want to
be on the wrong side of those eyebrows?
So there’s more bravery
than might be immediately apparent in taking on the voice of the Twelfth Doctor
in something as long and full-on as a Chronicles box set.
No pressure.
This first set of
Chronicles is a fairly neat summation of the Twelfth Doctor’s time, at least
prior to his meeting Nardole, sitting still for several decades at a
university, teaching Missy about compassion, getting involved with Bill and
spending the majority of a series waiting to die.
There’s a celebrity
historical story with some creepy invasive blood and a bunch of really
determined rats in Crimea. There’s a school trip with a difference as Danny
‘PE’ Pink tags along for a ride and gets involved in alien M.A.S.H. There’s a
solidly confusing timey-wimey story with soldiers from the past besieging a
castle in 2015. And there’s Osgood’s dream come true as she gets to take a trip
in the box and ends up being just a little bit Bond.
Sound like fun?
Let’s see.
The Charge Of The Night
Brigade by David
Llewellyn takes the Twelfth Doctor to the Crimean War, to Mary Seacole’s
‘British Hotel.’ For those who need the Wikipedia version, she was a
British-Jamaican contemporary of Florence Nightingale, in much the same line
but with added succour for the spirit through food, rest and a relatively
comfortable recuperative environment, rather than just strictly medical repair.
Also, known to be a bit of a tartar.
Perhaps unsurprisingly,
the Twelfth Doctor takes to her immediately, though it takes her rather longer
to warm to Captain Eyebrows, and he has to prove his worth to her before she
throws in her lot with him against a new and extra creepy danger.
The story itself is a
straightforward body-horror tale to ease us into the set – an infection that
isn’t an infection, a blood sample that reacts to investigation, possession,
gestalt rat-creatures, one of the most scary single ideas in the history of Who
– meat and drink to David Llewellyn, to be fair, and meat and drink too to fans
of the grimmer tone of some early Capaldi stories. There are callbacks to The
Waters Of Mars and to James Herbert’s seminal horror shocker, The Rats,
while also resonating deeply with the early Capaldi tone of anti-war sentiment
at all costs, and particularly the futility of innocent lives thrown away
fighting conflicts that on the grander scale are utterly pointless. In fact,
you could argue that’s a theme of this set – its anti-war credentials run
through the four stories, albeit you might have to squint a bit to see them in
the fourth story.
Mandi Symonds adds her
voice to the first episode as Mary Seacole, but most of the rest is delivered
by Dudman, as both Twelfth Doctor and narrator, as well as the supporting
characters who make the story work. Symonds gives a welcome up-turn in tone
too, a sharpness to contrast with he Twelfth Doctor’s exhaustion, and hope, and
strange, alien humour. She shows the shift in Seacole’s attitude towards the
lanky Scottish interloper as he proves to be the only one who can actively help
her with the outbreak of a strange new sickness.
Without spoiling the plot
for you entirely, the theme of The Charge Of The Night Brigade is all
wrapped up in the continuation of war, the ever-constant resurgence and return
of power-hungry madmen and egotists, and the sacrifice of innocent lives to
achieve their goals. It’s a melancholy theme for a melancholy Doctor, but
Llewellyn and Dudman together show a recognisable Twelfth Doctor being dark,
mysterious, hurt, uncertain and yet doing the best he can to solve a horrible
problem, to save lives, and to make a positive difference. His is a light that
shines through the baggage of himself, which isn’t an easy thing to portray if
you’re originating the character, let alone if you’re stepping in to a
well-worn pair of shoes and trying to recapture that essence, but Llewellyn and
Dudman together give us a Twelfth Doctor in the Crimean War that
retrospectively adds lustre and heartbreak to his final on-screen adventure
against the backdrop of the trenches of World War One. If you have a fear of
rats, this one’s going to drive you screaming up the wall. If you love the
Twelfth Doctor, you’ll hear him here, living again in the audio medium and
still working out how to be the Doctor, how to be a good man, and what
such labels even mean when you’ve lived as long as he has.
War Wounds, by Mark Wright is that most unlikely
of things – a trip to an alien planet with the Twelfth Doctor and Danny Pink.
No wait, come back!
The dynamic between Danny
Pink and the Twelfth Doctor was among the oddest ever depicted on the show – a
character loved by a companion, but who hated and mistrusted the Doctor’s
motives in taking people away, while the Doctor himself took a distinct dislike
to Danny because he’d once been a soldier. All in all it was somewhat forced, a
way of taking the ‘human connection’ element of previous characters like Jackie
Tyler, Francine Jones, Sylvia Noble, and Rory Williams and turning up the heat
and the antipathy until it boiled. But whereas all of his predecessors found a
way to make peace with the Doctor and his adventures, Danny Pink never really
did, and only once he’d been turned into a Cyberman did the Twelfth Doctor
actually seem to learn any respect for him.
As such, he’s perhaps an
odd character to bring back for an adventure alongside the rangy, insulting
Time Lord, especially when you know going in that if it’s to fit with the
established on-screen arc of their relationship, it’s either going to have to
confirm both characters in their mistrust of one another, or it’s going to have
to involve a reset button.
We won’t tell you which it
is, but certainly one of those things happens here. Mark Wright takes us into a
story that is basically an alien episode of M.A.S.H, a film and show already
well noted for its anti-war message. As such, pitch the ex-soldier, still
haunted by his wartime actions, and the ex-warrior, still haunted by his, into
a field of relatively pointless imperial conflict and you have an interesting
situation to begin with – the war is admittedly futile, except inasmuch as it
stops the advance of a despot, which the Doctor would perhaps usually have been
all over. Here, we see him in triage mode – relatively quickly moving to a
field hospital, patching up patient after patient after patient, irrespective
of their combatant status or the side they’re on. It’s a chance for Danny to
see a different side to the Twelfth Doctor, and when one particular patient
turns out to have political significance, it’s a chance too for the Twelfth
Doctor to reassess the one-time soldier who’s become a teacher, a passer-on of
knowledge (in a somewhat ironic foreshadowing of the Twelfth Doctor’s own
career). It will surprise no-one that they each more or less insist on taking
the wrong and unhelpful lessons from this experience, but there’s perhaps a little
melting in their attitudes as they each begin to appreciate the complexities of
each other’s positions, before it all goes necessarily wrong.
What War Wounds
ultimately gives us is an anti-war treatise that jives neatly with the M.A.S.H
ethos and that of the early Twelfth Doctor, more information than we got at an
early stage of Danny Pink’s on-screen life about the specifics of why he quit
the army, and why he still sees it as a worthwhile thing, even if it’s no
longer something he can personally bring himself to do, and a multi-layered
tragedy. There’s the tragedy of war, absolutely, the almost mundane horror of
bodies needing to be patched up or needing to be disposed of because, as Doctor
puts it, ‘someone wants a bigger garden.’ But there’s also the tragedy of the
friendship that could have been between the Twelfth Doctor and Danny Pink if
only either of them had ever really managed to get over themselves and see the
truth of the other, rather than taking opposing positions in relation to Clara
Oswald’s destiny. That sometimes being a good man, woman, human, reptile or
superintelligent shade of the colour blue means picking up a gun to defend the
innocent is something Danny Pink believes in fiercely. That it’s something the
Doctor has already had to do, and that it’s something from which in this spiky
incarnation more than most he is fleeing from is a tragedy of timing that means
the two will never become the friends they could have been. Mark Wright, with War
Wounds, delivers a script which shows us the potential that’s lost, while
giving Samuel Anderson and Jacob Dudman some room to really play their roles.
When Lizbeth Myles writes
a story, one thing you can be absolutely sure of is good characterization. Her
entry into his box set, Distant Voices, is no exception to this rule. We
don’t actually think Lizbeth Myles could write a poor character if she tried.
Focusing on the life and
experiences of a tour guide at a regional British tourist attraction (spoiler
alert – no Judoon were harmed in the making of this audio), Distant Voices
has a distinctly Sapphire And Steel vibe – Cameron, a font of all
knowledge about Rochester Castle, is corrected beyond the point of vexation by
a mysterious white-haired Scotsman when she tells a tour group about a siege of
the castle in the run-up to Magna Carta. Not one for hanging about,
Myles escalates us quickly from Cameron (played with highly likeable
companion-gusto by Emily Redpath) hearing voices, seemingly of ghosts from 1215,
to sudden mistfalls that isolate Rochester in time, to the 13th
century intruding into the 21st, and from there, to important
decisions that will dictate the future of Cameron’s life, as well as, just
possibly, life for everyone in Rochester, the world, and the universe of
space-time.
Distant Voices covers its ground at impressive speed,
while never rushing too fast to let us engage with Cameron and the series of
dilemmas that slam into her life the day she meets the Doctor. And that’s
really the vibe here – while she’s eminently likeable and a solid potential
companion, Cameron is someone to whom the Doctor, among a whole series of other
unlikely events, happens, an event with consequences, rather than
necessarily a lifelong friend. For all that, Lizbeth Myles delivers a story
that bowls along, gives us some solid historical peril, turns a corner that
puts everything in a new light, and ends on a satisfying, semi-melancholy but
distinctly ‘right’ note. As with the first two stories, the notion of war and
casualties is prevalent here, and there’s actually more going on than
historical armies besieging the modern ruins of a castle, but here, more than
in the first two stories, the Twelfth Doctor is able to handle the idea of war
as a universal reality, while still raging and mourning for the innocents
caught in its crossfire. Of all the stories in this set, this is probably the
most richly enjoyable, and it’s one you’ll return to for the chemistry between
Dudman’s Twelfth Doctor and Redpath’s Cameron.
Having said that, step
forward the unstoppable double-act of Una McCormack on writing duties and
Ingrid Oliver, bringing everyone’s favourite UNIT-geek Petronella Osgood back
to the Twelfth Doctor’s world in Field Trip. Joyfully, unlike her TV
appearances, this time Osgood’s not just a clever part of the UNIT team. This
time, the Doctor comes to pick her up specifically for her first assignment in
space and time – it’s Osgood’s dream day out.
Except she quickly realises
that adventures in time and space don’t necessarily conform to the skillsets
she has. While the Doctor tells her he needs her specifically to deal with some
politicians, it’s not long before she’s running along unnervingly high things,
mingling with spies, hacking casino programmes and breaking the bank, all to
try and stop a modern, technically bloodless form of warfare – the warfare of
enforced commerce, uninvited access to markets, and the turning of an otherwise
quite happy planet full of people into little more than relentless consumers. Recent
Bond movies have shifted away from megalomaniacs in lairs to unscrupulous
business moguls, and that’s reflected here as ‘Nella, Petro Nella’ steps into
the field, to help the Twelfth Doctor stop just such a ruthless market-leader.
There’s something
altogether glorious about hearing Osgood and the Twelfth Doctor finally gad
about the galaxy, fighting corporate crime, and Petronella’s particular
skillset does come in handy in an early stage of the adventure. But it’s
actually hearing her step outside that comfort zone into the busy, dangerous
world of corporate espionage, and still nail it that makes us high-five
the imaginary Osgood in our own heads. Everyone who’s watched Osgood or
listened to her in the UNIT box sets has always known she’s better on a much
broader scale than she realises. There’s joy in hearing her prove that at least
a little to herself in this story, which means we leave the box set on a real,
smiley high.
The Chronicles of the
Twelfth Doctor, Volume 1
is more or less a must-buy – it’s a collection of gorgeously written previously
unseen adventures for the Grumpiest of the Time Lords, that blends variety of
story with several slices of his life and the moods of each of them. It leaves
the way clear for plenty more sets in the Chronicles series at various other
points of course – adventures with Nardole, adventures with Bill, adventures
with Missy even? – and it proves the case for writing more adventures in this
series. Unless or until Peter Capaldi joins the crew at Big Finish, his seat in
the Tardis is being kept wonderfully warm for him by Jacob Dudman, and the
writing his Doctor is inspiring is second to none.
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