The Tertiary Console Room: Review - Doctor Who Unbound

"What would you ask for if you were offered anything you desire?"

Marc Platt's first contribution to the Doctor Who Unbound series was the superlative Auld Mortality that introduced the sprightly Geoffrey Bayldon as the Doctor. That play explored the idea of infinite possibilities through the eyes of a hero who had lived his whole life in a world of dreams where he, the master storyteller, could control all of his experiences. It was both achingly melancholic and inspirational through the Doctor's redemption where the influence of his long forgotten granddaughter makes him choose between living life as a simulation or going out into the real world experiencing reality for himself. A Storm Of Angels is the breathtaking sequel which examines what might happen when the Doctor is let loose upon the universe outside. He's ready to experience everything he can, but what about the consequences of his actions?

Platt himself has secured his reputation as a supreme storyteller and his latest play for Big Finish is no different, bearing the hallmarks of his endless imagination in a tightly constructed script packed with rich characterisation and beautifully lyrical dialogue. Platt's story engages immediately as his précis of the choice faced at the conclusion of Auld Mortality gives way to a simple, but effective, insight into what the Doctor did next. It's both silly ("Another burger, Doctor?" "Not for me, Elvis") and disturbing as, amongst others, the Daleks (or is it the Thaleks?) express their gratitude to the Doctor for all he's done for them. It shows how much he delights in helping those he meets whether it's showing a great inventor how to make his helicopter work or assisting others to see the error of their ways. All of this is leading towards the big question that A Storm Of Angels asks - what constitutes too much?

Doctor Who often has had a cavalier attitude towards the repercussions that action can cause upon the flow of time as while the Doctor has stated that history is not rewriteable at all, surely by his very presence he is changing events and interfering as everything is history from a certain point of view. Platt's concept is that the Bayldon Doctor, imprisoned for so long in his mausoleum tomb on the homeworld, has so much lust for life that his enthusiasm to experience everything compels him to act without considering the wider implications of his actions too rigorously. This attitude ensures his surprise (but not that of his Time Lord pursuer) when his adrift TARDIS is rescued by Sir Francis Drake, owner of The Golden Hind spaceship, returning home to Earth after concluding his three year mission exploring the outer reaches of the solar system.

The juxtaposition of anomalous futuristic technology with ancient civilisations has always been a fertile area of science fiction and there are plenty of examples from different forms of Doctor Who where this type of scenario formed the basis of previous stories. These include Barbara Clegg's 1983 serial Enlightenment, which featured archaic sailing ships in an intergalactic race, and Christopher Bulis' Fifth Doctor novel Imperial Moon that put the Victorians on the Moon. While there isn't really anything unique about putting the Elizabethans in space, Platt's typical ingenuity in the justification of it is where he excels as it is the Doctor's actions which have created this variance, now the true history, and this play's Unbound status is of a great benefit in ensuring the story's effectiveness. In a typical Doctor Who story, a divergent narrative timeline must reset itself at the conclusion (see Jubilee as a pertinent example) but without that necessity, Platt has the freedom to drive the drama forward in intriguing and unpredictable ways. He achieves this by ensuring that the exploration of the Doctor's responsibility towards history is not the sole focus as he combines it with questioning the base emotion of desire. Thematically these two interests compliment each other well as all the Doctor really wants is to preserve his freedom to travel with the person who matters most to him and he'll go to great lengths to retain that autonomy.

With the added luxury of a second disc in which to tell a longer, deeper story than the others in the Unbound series, Platt utilises sets each half of the play in very different locations. Drake's steam-powered space faring vessel proves a very atmospheric environment before giving way to the royal court of Elizabeth Gloriana, who's anxiously awaiting Sir Francis' return given that it's an election year and she needs the wealth of the stars to fill up the coffers and keep the creditors from the door. The Golden Hind scenes have a deceptive leisurely-like feel to them as small, seemingly insignificant moments build up into a magnificent storyline demonstrating the dangers of avarice. By setting the play in 1588, Platt can use the more fervent religious belief system of the time to good effect as the appearance of the Angels is all together more striking upon the native characters. Particularly satisfying is the reaction of John Dee at the very beginning of the play as it enables Platt's subtle touch to shine through as Dee's first action after witnessing the majesty of heaven within his shewstone is to place a telephone call through to Drake.

Plots featuring nefarious forces exploiting the weakness greed can instil in humanity are common within Doctor Who but rarely have such stories been handled with such clarity and richness as Platt employs here. He uses his wide-ranging characters to show the different effects the gifts of the Angels bring and it's in these moments that we find out who these individuals really are. The lure of wealth and the power it brings enslaves many to its cause, but others such as the Queen already possess that and to her wealth is simply a burden that she must bear. Dee is a scientist and astrologer who desires nothing more than knowledge and his instinctive pursuit of it blinds him to the danger of the course of actions he's engaged in, but it's the effect of the horror others lust for wealth causes that enables him to realise the truth. It's truly fascinating to hear how each of the well-drawn characters responds to the situation.

A common feature of almost all the Unbound adventures was a propensity for bleak endings that it meant only really Auld Mortality , with its bittersweet conclusion through two possible outcomes, had potential for a sequel. By simultaneously having the Doctor and Susan escaping wretched Gallifrey together but also her electing to remain there and take up her duties as Lord President illustrated skilfully Platt's message that all possibilities were equal and as important to each other. By actually crystallising one of those possibilities over the other, there was always the potential to undermine the beauty of that ending. Platt's solution to this dilemma is ingenious as he devises a plot twist that isn't altogether surprising but allows him to examine the ramifications of both decisions as well as allow Carole Ann Ford another tremendous role to play.

But what of the question of the Doctor's responsibility towards time? As ever with Platt's work, he's far too astute a writer to offer simple answers, preferring the ambiguity of suggestion instead. The Bayldon Doctor is someone who is compelled to help wherever he goes as he believes that his race's position is a privileged one that they must use to aid those less fortunate. Susan's dialogue "when you're ankle deep in tears and blood you can't let people suffer because its history" sums this up perfectly as well as being perhaps one of the most profound lines in the series as a whole's history. It is a compelling argument in favour of this Doctor's approach over that of the bound universe. Which is right though? The Doctor Who helps a civilisation survive, and has to live with the consequences, or one who stands by and lets it die because "you can't rewrite history"? There is, of course, no correct answer but by raising this issue and confronting it in the manner he does, Platt challenges one of the fundamental principles of Doctor Who and demonstrates the true strength of the Unbound series in its ability to go beyond the confines of continuity and convention and provoke radical thought.

Although well constructed, the plot of A Storm Of Angels is perhaps slightly thinner than Platt's past glories such as the sublime Loups-Garoux or the tragic Spare Parts, though the focus on strong characterisation defines the drama which is nevertheless a tense and intriguing storyline that commands the listener's attention implacably. An aspect of Platt's work that is frequently overlooked is his mischievous sense of humour that is again present here and works its way into the script at every reasonable opportunity, ensuring A Storm Of Angels is fun to listen to as well as emotionally rewarding. While the performance and direction helps tremendously, the humour helps to endear the characters all the more strongly - Drake's view of the Doctor when discussing him with Zeuro is particularly memorable!

Although there are minor flaws present within this production, their significance is minimal. Platt's work across the three main media of Doctor Who have shown his love of ornate dialogue and this is one of the highlights of A Storm Of Angels , but just occasionally the script lapses into too much description. Also, the decision to present the drama in the traditional four parts is particularly strange as primarily the script doesn't feel that suited to the structure and secondly it's simply not required. Big Finish's regular Doctor Who line are (mostly) released in four episodes as a way of evoking the style of the original television series, yet the Unbound is purposely deviating from that origin, meaning there is even less reason than usual for adopting this convention. Consequently, the cliffhangers simply interrupt the momentum of the drama, which probably wouldn't have been true had they been single disc-spanning instalments.

The reason given for the delay from this play's original release date was the amount of work required for its sound design and this is clearly shown in the finished product as the ERS team really have surpassed themselves with a stunning layered soundscape that gives the drama a gorgeous, cinematic feel. Some of Platt's ideas are visual, such as the scene where the Angels carry the Hind onwards toward the Earth, but the post-production conveys these so well that the production transcends the limitations of the medium to produce as impressive effect on the listener as the scenes do on the characters. Their sweeping music is very effective too, emphasising the divine appearance of the Angels superbly. In fact, the only aspect of the music that seems vaguely misguided is the choice to feature the original Delia Derbyshire arrangement of the Doctor Who theme as, like the episode structure, it seems out of place with the concept of this series, particularly when there were two perfectly adequate Unbound versions that perhaps should have been used instead.

Geoffrey Bayldon again impresses with his determined yet capricious incarnation of the Doctor, buoyed considerably by the great enthusiasm he brings to the role. Bayldon's approach really succeeds in drawing out the nuances of Platt's characterisation as he conveys successfully both the Doctor's resolve to help others whatever the cost and the more fragile, vulnerable old man beneath who just wants to be with his granddaughter. And it's the strength of the bond between the Doctor and Susan demonstrated here that makes both Auld Mortality and A Storm Of Angels superior examples of the series as its so believable. In reprising her role as Susan once more, Carole Ann Ford continues to be an absolute revelation being confident, assured, charming and delightful throughout. It's a real credit to both actors and Platt's script that by the conclusion of the play you care so much about what happens to these characters.

Director and producer John Ainsworth gathers an excellent cast of supporting players whose tremendous performances ensure the total success of this play. Particularly worthy of fulsome praise are the actors playing Doctor John Dee, Francis Drake and Her Majesty Queen Elizabeth. As Dee, Ivor Danvers is superb as the mystic who is so intent upon discovering the secrets of the universe, he is blinded to the truth of his actions. Despite being hostile towards the Doctor Who he views as a threat to his pact with the Angels, Dee remains a sympathetic character whose eventual redemption lends the drama one of its finest moments. Cameron Stewart makes a particularly gung-ho Drake, willing to do whatever is necessary to serve the Queen but one who is also a strongly principled man who will do his duty even when it levelled unfairly against him. Kate Brown is wonderfully regal as Elizabeth, excelling at showing the fragility behind the mask of this "virgin Queen" who is forced to make choices that could affect the whole of her kingdom.

It's almost a shame that the series title has the final additional word as this is by far the best Doctor Who production to come out of Big Finish in a long time and must rank as one of their very best overall. Brilliantly written, directed, realised and performed, A Storm Of Angels is an essential and exquisite work which shows Platt at his most potent, blending wit, imagination, fantastic characters and a truly epic story in a gloriously compelling drama that will uplift and amaze.