Grab Bag Reviews: "The Haunting of Thomas Brewster"

It's my first review of a true Big Finish original audio drama! That's right, no joint effort with the BBC, no flash animation on the computer, just a CD. "The Haunting of Thomas Brewster" was produced in 2008.

As I've mentioned before, Big Finish had and still has the license from the BBC to create Doctor Who audio stories. They began doing so in 1999 with their first story "The Sirens of Time" which featured the Fifth, Sixth and Seventh Doctors teaming up for the story. Nothing like starting with a bang with a multi-Doctor story.

This was also something of a way of letting listeners know what they would be doing -- which was mostly past Doctor stories featuring these three. Shortly after "Sirens of Time" Big Finish also added the Eighth Doctor to their roster. While most of their stories have been Fifth, Sixth, Seventh or Eighth Doctor tales the company has expanded and did a range of adventures featuring former companion Sarah Jane Smith (before the BBC ended up doing something similar by spinning off a TV series for the character), a series set on Gallifrey where former companion and Time Lady Romana (actress Lalla Ward) became Time Lord President and former companion Leela (actress Louise Jameson) became Romana's personal bodyguard and the two had to weather Gallifreyan political intrigues, and even a series that featured rotating companions telling stories of unchronicled adventures with the Doctor.

Also, as was mentioned before in my review of "Real Time" the idea behind the audios is that they take place in between the adventures fans saw on TV. In the case of "The Haunting of Thomas Brewster" the Fifth Doctor is traveling only with Nyssa which places this story as taking place somewhere between the TV episodes "Time Flight" (in which the Doctor accidentally left Tegan behind back on Earth) and "The Arc of Infinity" (in which the Doctor picked Tegan back up).

Now then, shall we go a'haunting?

The Plot: In Victorian London Thomas Brewster is orphaned at a young age when his mother commits suicide by jumping off a bridge into the river Thames. Abandoned by relatives Thomas grows up and is caught up in the horrible and broken system for dealing with the poor as well as those who live on the edges of poverty, society and legality. But Thomas is not like countless others -- his life seems to be haunted by a strange, blond haired man, a pretty young woman, and a tall, blue box. Oh, and Thomas is haunted by something else -- the spectral image of his mother begging him to save her. Only Thomas's mother is more than she seems and if Thomas obeys her wishes he may be condemning the entirety of planet Earth to a horrible future.

My Take: There are things that this story does exceedingly well, and there are things that it does not so well.

Obviously, with this being an audio story visuals are not a problem and the writer takes advantage of this by having the villains of this piece be creatures seemingly made of smoke or mist. Also, there is no need to try to find locations or build sets that resemble Victorian London and it's environs -- all of that is left up to our imaginations with just a few lines of dialogue to set the stage for us.

When one does not have visuals, though, the sound effects have to be stronger in order to make up for it... and here is where things sometimes work and sometimes don't. There are things which come through very clearly -- for example, during an attack by the mist creatures church bells sound strangely and ominously. At another point foghorns sound along the Thames as Brewster and his friend try to row to safety -- and we hear the sound of water and oars. Other things, however, such as a scene set in the early Victorian subway system don't ring quite so true. The voices never sound as if they were underground and the sounds of the trains don't seem right either.

I also had a problem with the music here. The composer opted for the most part to try to ape the music of the TV series during Peter Davison's (the Fifth Doctor) time on the series. During this time period the series relied heavily on synthesizer and electronic music -- which just doesn't fit as well with the Victorian setting of this tale. For another thing, the composer relies on just a few musical cues and one gets really, really tired of hearing the same little fiddly tune being repeated again and again.

As for the plot... eh, I had some issues. The writer here did an excellent, really, truly excellent job of capturing Victorian London in all of it's squalor. The slang terms ring true as does the life Brewster leads going from poor house orphanage to "apprentice" to a river scavenger. The Doctor also revels in the science of the time. The characters are also, while drawn with broad strokes, very entertaining and seem fairly true to their time period -- from Brewster himself to his friend Pickens to the river scavenger, to the Doctor's Scottish assistant Robert Mackintosh, which he acquires while being forced to live in Victorian London for a year.

The way the writer plays with time and time travel is also nicely done. We have the Doctor getting stranded in Victorian London for a year and we get multiple trips to the past and present and elements of the Doctor setting up time loops. For example, at one point Brewster and his scavenger cohorts find the TARDIS washed up from the Thames where it has been trapped in the mud for over 30 years. But where is the Doctor and Nyssa? And why is the TARDIS there 30 years ago? Later the Doctor must use this version of the TARDIS when his present version is stolen and then must send this version of the TARDIS back 30 years so it will be where it needs to be when he needs to use it... it's all very twisty and turn-y and time travel-y and if you think about it too much your head will explode and that's always fun in Doctor Who.

There are also lots of little in-jokes -- tips of the hat to both the history of Doctor Who as well as tributes to the works of Charles Dickens. There is also some really nice banter among all the characters and the writer particularly seemed to have a good handle on the Fifth Doctor -- showing him as ever the scientist -- ever fascinated by all things scientific even if they be primitive by his standards. Showing the Doctor's occasional forays into getting off the subject and being distracted and also the Doctor's gentle side -- the part of him that remains haunted by the cruel vagaries of the universe and the propensity of people around him to end up dead.

The biggest problems come with Brewster, the villains, and the ending. Brewster is a very interesting character and he actually narrates most of the story so we become well acquainted with him. And it is a little different twist to get a Doctor Who story from the viewpoint of a more "ordinary" person who has (at least at first) very little contact with the Doctor and his life but the problem is that it goes on a little too much. Brewster starts to slide a little bit towards being a "pet character" or a "Marty Stu" (which is the male variation on a Mary Sue character). Brewster actually kind of overshadows the Doctor and the plot and in the end really doesn't leave the Doctor with much to do at all!

The other issue is with the villains. We never get a real explanation for Brewster's mother -- is she a real figure who puts on an image of Brewster's mother pulled out of Brewster's memories? Or is she wholly nothing more than a psychic projection? And the other antagonists -- the story plays them as beings who *might* take over the Earth in an alternate 2008 and who are trying to manipulate the past to make *sure* that their version of 2008 actually comes to pass. But to do that they have to *know* that they are only a potential future and then they have to have the technology to reach back through time to manipulate things and we're never properly informed how they can do all that. In point of fact, we don't really know who they are or where they come from other than an alternate 2008. Are they alien beings which conquered the Earth in this potential reality? What are their aims? Their goals? Why Earth? We never get any of this information -- the group never has a leader and they never even speak. We know nothing about them other than... they're made out of mist, they suffocate people, and they're scary 'boogy-boogy-boogy!' It's seriously hard to give a care or even be that scared by monsters that you know nothing about. Although, I will give props to the writer for integrating the monsters into the setting -- London pollution in the Victorian era was horrible and fog often combined with smog to create a noxious pea soup that actually killed the elderly and those with respiratory problems. So having alien creatures which are, in effect, a killer London fog is actually pretty darn clever.

Finally, there is the ending. I try, even though I say my reviews are spoilery, not to give away too much about the ending most of the time but this time I'm afraid I do have to give away a bit because the ending is incomprehensible. Above I mentioned a stable time loop -- the Doctor losing one version of his TARDIS and going and getting another version seemingly left behind at an earlier era and then arranging for his current version to be send back in time so it will be there when he needs it. The show has done similar things more recently. There was the mini episode "Time Crash" in which the Tenth Doctor accidentally met his Fifth incarnation and it caused a space-time crisis which the Tenth Doctor fixed then announced that he knew how to fix it because he remembered being his fifth self and seeing his tenth self fix the problem. The loop has no opening but it is closed and it actually works -- a self-perpetuating time loop. The problem with the ending of "The Haunting of Thomas Brewster" is that Brewster seemingly *changes* his past. Nyssa and the Doctor tell him that everything which happened to him still happened -- it was part of his past -- but now the aliens would never conquer Earth -- at any time. But that makes no sense! If he made it so the aliens didn't contact him and feed him information then events *couldn't* play out the way they originally had and all the people who died wouldn't have died and.... AAARRRRGGGHHHH!!!! Makes. No. Sense! A stable time loop only works if you're not actually altering history! This. Alters. History!

Okay. That's over. Looking at the performances, there is no getting around the fact that Peter Davison's voice has aged. The 30-some-odd years that have passed since he first played the Doctor have left changes -- his voice is a little deeper and a little rougher and it is disconcerting at first for a fan who has the memory of the sound of the Fifth Doctor's voice frozen in amber at that time period in the 1980's. After a little bit, though, you get used to the difference and you realize that Peter Davison is still able to *play* the Doctor as he was then -- capturing the nuances of the characterization if anything actually better than ever. Sarah Sutton as Nyssa has suffered less the changes of time on her voice. As such it is very easy to accept her portrayal of the character. Although it is a shame that Sutton's Nyssa isn't really given a terrible lot to actually do in this story. The voice actors for Brewster and Mackintosh also do a tremendous job -- really getting the accents for the time periods just right without overplaying them into stereotype.

Taken on the whole, "The Haunting of Thomas Brewster" is a great story from a Victoriana standing. It captures the spirit and flavor of it's time period and provides a fun little twist on a ghost story theme, playing with various Gothic elements and marrying them (sometimes awkwardly) to a Sci-Fi sidecar. There are, however, gaping holes in the plot, things which don't make sense, not enough for the Doctor and Nyssa to actually do in the story, and the villains just don't get enough time in the story. If one wants to get a flavor of what a Big Finish audio is like you can do a heck of a lot better than this one. If you're into Victoriana though then "The Haunting of Thomas Brewster" is maybe worth at least one listen through but certainly not worth a repeat.

Grab Bag Reviews: "Castrovalva"

The show had changed lead actor in the Doctor role four times by 1980 but the next change was going to be particularly tricky....

Tom Baker, after seven years, finally decided to give up playing the Doctor. Tried and struggling with burgeoning alcohol and love-life problems the strain on Baker had begun to show on set more and more often.

The big problem was who did one find to replace one of the most popular Doctors in the history of the program? Jonathan Nathan-Turner's response to that was to offer the role to 29 year-old Peter Davison.

J N-T liked Davison as an actor but his motives were not entirely based on an appreciation of Davison's skill. Davison was immensely popular at the time, thanks mostly to his role as Tristan Farnsworth on the hit series All Creatures Great and Small. J N-T knew that anyone following Tom Baker would suffer inevitable comparisons and there would be many viewers who might be tempted to jump ship with his leaving. The hope was that, by signing an already popular actor to the role, fewer people might be tempted to leave and additionally more people who had followed Davison on All Creatures Great and Small but perhaps never or seldom watched Doctor Who might be willing to follow him over. On the other hand, J N-T was taking a risk that long-time fans of the program might consider Davison too young and handsome for the role.

For his part, Davison honestly did wonder if he was too young for the role. He did not immediately jump when offered the part and spent some time considering all of the pros and cons. In the end, though, he knew that Doctor Who was a kind of cultural institution and he might be offered this role only once in his lifetime. In the end, the opportunity to play the Doctor was just too good to pass up. Davison later admitted, though, that once he accepted he drew a blank on just how he wanted to play this new version of the Doctor. In the end he took inspiration from a fan at a Q & A session on a BBC entertainment program. The fans suggested that Davison play the Doctor like Tristan Farnsworth only with bravery and courage.

In addition to Davison, J N-T had steadily been building up the TARDIS team in the waning days of Baker's tenure; thinking that having more familiar companions around might help Davison fitting into the role. Matthew Waterhouse's character of Adric was already well established, having been introduced in "Full Circle". Added to this was Janet Fielding whose character of Australian airline flight attendant Tegan Jovanka had been introduced in Tom Baker's last story "Logopolis". Rounding out the cast was Sarah Sutton. Her character of Nyssa was supposed to be a one-off in the story "The Keeper of Traken" but the production team ended up liking her and thinking she would add something to the mix so she came back for "Logopolis" and stayed to become a permanent companion.

The show also, for once, had the benefit of time. Because Davison had already contracted to do another series the Doctor Who team had to wait to start filming. Because of this they pushed the launch back for a year -- giving them plenty of time to write scripts and start filming episodes. Knowing that Davison would face stiff comparisons with Tom Baker, J N-T wanted Davison to be confident in the role for the first episode since this would be where viewers would get their first good look at him. As such, with the extra time allotted, the decision was made to film Castrovalva fourth.

The King is dead. Long live the King.

The Plot: The Doctor has regenerated after falling from the gantry of the radio telescope at the Pharos Project but something is going wrong! Tegan, Nyssa and Adric struggle to get the Doctor back into the TARDIS. There is no safety even there, though as the Master has set a trap and managed to kidnap Adric and now uses the boy's mind to create illusions and influence the TARDIS. With the Doctor weak and confused, the group of new friends take him to Castrovalva -- where the TARDIS says he will be able to heal. The city of Castrovalva, though, is both more and less than what it seems and the Master is still out there attempting to destroy the Doctor. If this regeneration goes wrong who knows what might happen?

My Take: Bit of an uphill climb here, in more ways than one. I understand writer Christopher Bidmead wanting to inject some dramatic tension and uncertainty here but Davison squanders most of four episodes as the Doctor being befuddled or unconscious. It's tiresome and it doesn't give viewers enough of an idea as to who and what his Doctor is going to be; instead we learn more about the companions.

On the other hand, we can see even more of the Production team's insistence on "hard science" creeping into the stories. There are discussions of recursion in mathematics, "hydrogen inrush" causing the 'Big Bang', and the effects of mass on thrust in space flight. There's also a healthy dose of the works of M.C. Escher who mixed math, art and visual illusion.

The performances are roundly about what you would expect. There are some really lovely turns by the guest cast as the inhabitants of Castrovalva but Anthony Ainley as the Master is.... well, let's just say Ainley had a reputation of loving to ham things up whenever he appeared as the Master. There are some who love this aspect of the performance from him and some who are less than thrilled. Matthew Waterhouse has some good moments -- for example, when Adric tries to distract the Pharos Project guards by claiming to be an alien (which, of course, he is) -- but he also does his fair share of going over-the-top while imprisoned by the Master. Sarah Sutton turns in a pretty good performance as Nyssa -- in particular she really sells the idea of Nyssa slowly growing to become friends with Tegan instead of just traveling companions. Janet Fielding's Tegan would later get a reputation for being loud and argumentative but in these early days that isn't so much in evidence. Instead she comes off as forceful and determined and actually very caring. And then there is Davison. Reportedly Davison did enjoy those moments where he goes about imitating the Doctor's previous incarnations. While Davison is something of a poor mimic (sorry, but it's true) it does lend a little something to the idea that the regeneration is unstable and instead of elements only of his previous self bleeding through ALL of his previous incarnations are bleeding into his current one. It does take a bit for Davison to get going, thanks mostly to the script, but once he does viewers can see the Doctorly elements creeping in. With Davison, though, unlike with Matt Smith who also had youth working against him, there is little about his performance that seems necessarily 'alien'. There is intelligence and a certain amount of sympathy and sensitivity but there is little here that sets his Doctor apart from humanity and I think that makes it a bit harder to accept him as authentically a 'Doctor' right out of the gate.

Of benefit here is the fact that there are few special effects really -- most everything is accomplished with sets and camera trickery and that helps the series immensely. There are also some really nice sets which, for a change, aren't woefully overlit and there is some absolutely gorgeous location footage which really does convince the viewers that the setting for Castrovalva is a place of peace, tranquility and simplicity.

Overall, "Castrovalva" perhaps isn't the best 'Changing of the Guard' story but it is better than some with some well written and well performed scenes and lines of dialogue which really stick with you. Plus, "Logopolis" and "Castrovalva" together actually flow one into the other in such a smooth way that they feel like one, continuous story which is a nice effect and something that few other regeneration sequences can boast of.

Trivial Pursuit:

When the Doctor is wandering through the TARDIS looking for the Zero Room he imitates his First incarnation, his Third incarnation (complete with mention of the Brigadier), and his Second incarnation (including calling Adric 'Jamie').

Later, when looking at himself in a mirror, he spots a recorder lying around and picks it up and tries to play it with little success. This is a reference to his Second incarnation -- who occasionally liked to play a recorder. Obviously his musical ability has been lost somewhere down the line in subsequent regenerations.

Curiously, the First Doctor didn't know what cricket was but by this time the Fifth Doctor finds an entire room filled with cricketing clothes and equipment.

The Doctor seems to have acquired a power wheelchair somewhere over the years.

When trying to tell Nyssa and Tegan how to escape from the Master's first trap the Doctor mentioned reversing the polarity of the neutron flow -- this was a phrase particularly associated with the Third Doctor.

He also calls Tegan 'Jo' -- which was the name of one of the Third Doctor's assistants.

He mentions K-9 -- which was the little electronic dog which, in various incarnations, traveled with the Fourth Doctor.