REVIEW | Spare Parts - Ranked "5" in Radio Times Top 5 Davison Audio Stories

Spare Parts by Marc Platt

Directed by Gary Russell

Music by Russell Stone

Sound Design by Gareth Jenkins

Recorded March 2002. Released July 2002.

Starring Peter Davison and Sarah Sutton

Guest Starring Sally Knyvette, Derren Nesbitt, Pamela Bins, Paul Copley, Kathryn Guck, Jim Hartley and Nicholas Briggs as the Cybermen.

Ask any group of Big Finish fans what is the best story Big Finish has released and one that will keep being repeated over and over is Spare Parts. It is so good that it is one of only two stories that Russell T Davies had adapted for new Who when he became show runner, although admittedly, it is barely recognisable in the finished product.

It is no doubt with some surprise that Spare Parts only ranked number five in the 5th Doctor Poll conducted by Radio Times. A travesty? Well, many would argue that fifth place is still a strong finish. Big Finish fans may assess it should have been number one, but are there reasons that the thousands who voted, many of whom are outside the general Big Finish fan circles, didn’t place it number one? 

So firstly, why is it so loved by the Big Finish family?

Well it’s an origin story. It’s Genesis of the Daleks but for Cybermen. It’s what the keen Doctor Who fans always wanted. The story of Mondas and the reason why a race of humans would let themselves become emotionless monsters. This alone makes the story extremely popular.

Mind you it is a story that is told particularly well. Marc Platt who wrote one story for the classic series, Ghostlight, and was one of the few authors who transitioned from classic who, to novels to Big Finish. His writing is always distinctive, slightly kooky, exploring complex themes and often told in convoluted ways. Having written over twenty stories now for Big Finish, this was only his second venture following the successful Loups-Garoux. Marc manages to create an epic story, of a planet slowly surrendering itself to its fate through the eyes of a single family. This family mirror the values, the fears and the destruction of all Mondasians. 

The Hartley family are so effective in conveying the decay of society and brilliantly realised by great, naturalistic acting of Paul Copley as Dad, trying to hold what is left of his family together, Jim Hartley as Frank, headstrong son who is convinced he knows best and Kathryn Guck playing Yvonne who health slowly decays and finally creates one of the saddest scenes in the story. These three characters are the voice pieces of the different elements of the Mondas society showing us their values, their hopes and their fears. The normality of the family is contrasted by the unusual Sisterman Constant as played by Pamela Binns. Every story needs a villain, and Constant provides that role. Though as the story progresses you realise that she is just as deceived and lost as the other poor souls on the planet.

Star casting goes to Sally Knyvette, best known to Blake’s 7 fans as Jenna Stanis, who plays the creator of the Cybermen, Doctorman Allen. But unlike the evil creator of the Daleks, Davros, Allen is naïve rather than evil. Her desire is to save her race but through her trials and experiments she condemns her people and herself to emotionless slavery and begins to be a scourge on all of the universe.

Peter Davison and Sarah Sutton make the perfect pairing for this adventure. Both this incarnation of the Doctor and Nyssa has such vulnerable sides to their characters and a desire to help, that as options are removed from their hands you see their hopelessness of the growing situation. Nyssa’s closeness to the Hartley family leads her to suffer great grief, especially with the fate of her friend Yvonne. 

And so the Cybermen. Nicholas Briggs brings us another star turn and demonstrates why, when the Cyberman return to the new series of Doctor Who, he is the only one who could bring them back. This time realising the high pitched, sing song Mondasian Cybermen first encountered in the Tenth Planet. He plays various roles that become more menacing and finally take over from the humans who they originally were. But like Tenth Planet, the lead Cyberman still has a name, Zheng, betraying his human roots.

So, there is much to love about this story. But the reason why so many fans love it may also be the reason it didn’t make number one in the poll. It is dark. Very dark. It is more of a political thriller than an action adventure. There are no huge battles and there is no evil villain. And throughout the story is total foreboding. It has a huge downbeat ending, so loved by fans but not so much by the general public. And also Cyberman aren’t Daleks. And when it comes to the battle between Cyberman and Daleks and what people love – Daleks win.

So Spare Parts is number 5 on the list. Does that change how great it is? Or how fans will view it? No way. But it does let a couple of other great stories get noticed that hadn’t been recognised by fans before. For many I think Spare Parts will still be viewed as the best that Davison has to offer.

Philip Edney

REVIEW | Doctor Who: Dalek Universe 1 starring David Tennant

In a world still reeling from the effects of the pandemic, television Doctor Who has been cut back and fans who rely on the Beeb for their fix won't be getting a full season this year. 

Big Finish, on the other hand, seem to have gone from strength to strength. Far from reducing their output due to the pandemic, remote home recording has kept actors and production teams running at maximum output. 

Even with their Monthly Range of adventures coming to an end in March, it still feels like Big Finish are focusing yet still increasing their output to hungry fans.

But will the stories meet fan expectations?

If Dalek Universe 1, a new boxset, the first of three, starring the ever popular David Tennant as the Tenth Doctor is anything to go by, your hunger for new Doctor Who is going to be regularly satisfied!

With companions Anya Kingdom, played by Jane Slavin, and Mark Seven played by Tennant's fellow Broadchurch star Joe Sims, the stage is set for an epic adventure for the ages. With nods to the past Tenth Doctor era and the ancient past with many elements from Terry Nations Dalek universe canvas, fans will be salivating for more. 

But what of the casual listener who rarely, if ever, dips into audio?

Although a 3-part set, it would be handy to hear the prequel story, The Dalek Protocol starring Tom Baker as the fourth Doctor with Slavin and Sims. But it's not vital to the enjoyment of Dalek Universe 1. 

Tennant feels as though he has never left the role and writer of the first two episodes, John Dorney, has captured his era perfectly. It's a sentimental banquet for anyone who was watching the show in the mid-noughties. The dialogue is delivered to perfection and it's difficult to believe that this cast was recording remotely from their laundry or clothes cupboards. 

As the mystery unfolds in the first episode, "Buying Time", we are submersed into the mystery of a tenth Doctor thrown into an adventure without his TARDIS, and meeting characters he knows from a much earlier incarnation. We're also introduced to a character played by Mark Gatiss, who has appeared several times in different roles in TV Doctor Who and on audio.

But hold your horses folks. Any belief that you're in for a typical run of the mill story will be dashed as we are treated to a cliff-hanger for the ages that will blow your mind and force you to listen to the second episode immediately. 

"The Wrong Woman" continues on from the previous story, but not in the way you were expecting. If you've had time to recover your wits from the insane cliffhanger, the ride is far from over as you take a timey-wimey roller-coaster ride that doesn't let up until the end. 

Andrew Smith takes writing duties for the third episode, "The House of Kingdom", a fascinating look into some more of Anya's backstory and a return for more of the creations of Terry Nation's universe from the 60's, including the Mechanoids, which always had the potential to be much more than that single episode in 1965. 

Despite the stress of lockdown, Ken Bentley has done a superb job directing this set. I suspect, however, that Ken would say his job was made easy by the extraordinary cast led by Tennant. 

If all the above ingredients were enough to set my imagination ablaze, it was Howard Carter's incredible score and sound design that officially blew my mind! Howard's work was a standout for me in last year's "Return To Skaro", and this set proves his versatility and adaptability when it comes to different ranges and settings. Incredible stuff! 

The main question on my mind after hearing this set? 

How am I going to bear the 3 month wait until the next set is released in July? 

Get Dalek Universe 1 today from bigfinish.com.

Dwayne Bunney

REVIEW | Torchwood : Coffee by James Goss

While Torchwood follows the action surrounding a small group of people working in a secret base in Cardiff Bay, what about the other people who might live and work in the area?

After all, the rift was responsible for what ultimately led to an awful lot of very loud explosions.

Coffee follows the life of Ianto Jones through the eyes of a Cardiff Bay cafe owner and one of his staff. From a nervous recruit on his first day and following the events of Ianto's time with Torchwood, we see one of our heroes through the eyes of people just like us to discover Ianto is, just like us.

James Goss delivers his trademark expansive storytelling with incredible attention to detail, ensuring that both fans of the TV series and the more casual listener alike will connect with the world of Torchwood like never before.

Gareth David-Lloyd excels, proving again how much this actor cares for his character, even varying his accent depending on where the story is set in his timeline.

This is a worthy start to the Torchwood monthly range for 2021.

You can purchase Torchwood: Coffee directly from the Big Finish website.

Dwayne Bunney

REVIEW | The Robots Volume Three

If you enjoy conspiracy, suspense and mounting threats, then The Robots Volume 3 will not disappoint. The Robots is a 12-part series that takes place on Kaldor during a one-year sabbatical from the TARDIS by eighth Doctor companion Liv Chenka. She uses this time to catch up with her sister and discovers that her home planet has turned into far more than she ever bargained. 

Once again there are three diverse stories that continue to drive us to what promises to be a massive conclusion in which Liv may only just get away with her life. 

The first story “The Mystery of Sector 13” by Robert Whitelock continues to build on the role the Sons of Kaldor are going to play in the future and for Liv’s sister, Tula, her eyes further opening to the worrying happenings inside the Company. Whitelock is better known for his acting talents within Big Finish but with this script he is able to create a lot of tension. He creates a clever way to knock the confidence out of Liv and Nicola Walker seems to relish in flexing her acting muscles. His use of the Robots is both heroic but also leaves us feeling nervous. 

“Circuit Breaker” by Guy Adams will probably be the fan favourite for those who love the Doctor Who episode this whole world is based on, The Robots of Death. Liv and Tula are not in this episode and the central stage is given to Poul and Toos. David Collings and Pamela Salem reprise their roles brilliantly as they did in one episode from the previous box set. Poul is called in by Toos to investigate a murder and this is going to play out a lot closer to home than either one will want. Guy Adams tells the story in a brilliant way overlaying information and returning back to scenes time and time again, revealing more information each time. And the conclusion is quite shocking and unexpected. At this time we don’t know whether David Collings has recorded any further stories. If he hasn’t this is both a great story to finish with but will be forever frustrating to not see where this was going to lead. 

The final story in the set is “A Matter of Conscience” by Lisa McMullin. This is the most grand and epic story in the set involving huge set pieces, crowds and explosions. Lisa has become a real blessing to the writing team of Big Finish having written a lot of fine stories in a short period of time. In this one she writes engagingly about politics, terrorism and misinformation. She also gets to reintroduce a character from the television show that wasn’t expected. 

It is great to have Louise Jameson given directorial duties again. A sensational actress, Louise is able to turn her own abilities to help the cast extract the most from their lines. The bounce that the characters have off each other and the enjoyment that can be felt is no doubt due to the talents of Louise. This is all the more amazing considering all this was achieved during lockdown. It is great to have a production with female leads, a female director and at least one story by a woman but telling a story that is totally accessible to any gender. There are strong relationships and emotion throughout the story but more than enough bangs and flashes to keep the most die hard people entertained. 

The whole cast are great but the two leads, Nicola Walker and Clare Rushbrook, continue to hold the power in every story. You would swear these two women truly are sisters by the way they interact with each other. Nicola’s dry humour and Clare’s never ending patience and trust contrast beautifully together. Two great actresses playing two great women. 

And finally, the Robots of the title. Each time the Robots speak it creates memories of one of the best stories the fourth Doctor ever had. And throughout the stories they play slightly different roles and are ever more confounding. Are they basic helpers? Are they moral beings? Are they growing in understanding and knowledge? Are they helper or destroyer? Each set of stories creates more questions and builds anticipation of how this is all going to end. Though when it does end, I think that will be the tragedy.

You can purchase The Robots Volume Three directly from the Big Finish website in either download or CD collectors edition.

Philip Edney

REVIEW | Mary Shelley's Frankenstein - The Modern Prometheus adapted by Jonathan Barnes (Big Finish Classics)

Recently I picked up the actual novel by Mary Shelley and devoured it in a day. This is a novel that screamed for an audio adaptation. 

What I did notice from the book was the ambiguity in relation to the making of the monster. That and other detail I assumed would be in the book, but wasn't, finally explained to me why I had seen so many seemingly conflicting narratives in film and TV versions of the book. 

So how does this audio adaptation stack up?

The Big Finish Classics range made no bones about their desire to adapt stories as close to the original works as possible. This has not always been easy, as their version of H.G. Wells Things To Come demonstrated, though that too is a marvelous adaptation.  

As I was reading the novel, I noticed that I had never in film or TV seen any reference to the travel Victor makes to England, Scotland and Ireland. I was very happy that the audio version includes this section of the novel. 

But how close actually is it? While the novel is a deeply human book, examining the deep tragedy of one man's mistake and his journey into regret and possible redemption, Big Finish have changed the character of Victor Frankenstein into someone quite unlikeable. This however, takes nothing away from the brilliant performance of Arthur Darvill as Victor. 

The relationship between Victor, Elizabeth and Justine has been completely changed for this version and I can't say that I personally like it. While the novel induces a level of sympathy towards Victor in the reader, the audio version casts him as a repulsive and arrogant character whom I kept finding myself wanting to slap. His treatment of both Elizabeth and Justine is deplorable and not in line with the novel at all. 

I don't have an issue with this change in character, but I'm unsure about Big Finish's claim that the story is very close to the novel. It isn't that close. 

Nicholas Briggs' portrayal as the creature is incredibly good. He's up there with Robert de Nero as my favourite version of the creature. However, does the image on the cover of this set really convey the horror expressed by characters within the play? Once again, the novel is ambiguous as to what the creature looks like, but in all honesty, the image on the cover is not as terrifying as I think it could be. 

The scenes between the creature and De Lacey, played brilliantly by Geoffrey Beavers are beautiful. Until, that is, some more characters are given some downright detestable motives that tack in the complete opposite direction to the novel. To say I was shocked by the "cottagers" scenes would be an understatement. 

And speaking of Geoffrey Beavers, his main role as Alphonse Frankenstein is an example of perfect casting. His voice drips like honey into the ears and his final scenes are incredibly beautiful but immensely tragic. 

While the parts of the story set in Scotland and Ireland are there, they don't have the same feel as the novel to me. 

One of the most horrific parts of the story for me is the murder of Clerval in Ireland. Man! That was intense! But, this is a horror story after all.  

So for me, this version doesn't appear to be as faithful to the novel as it claims, but it's still a mighty fine production and a worthy addition to the Frankenstein stable of adaptations. 

Buy Frankenstein directly from the Big Finish website. 

Dwayne Bunney

REVIEW | Torchwood: The Three Monkeys by James Goss

Big Finish have tried larger scale Torchwood audio drama, but it's here in the smaller cast plays that it seems to shine. Characters get their moment much more than they ever would if the whole Torchwood team and a large guest cast were featured.

That's part of what makes this month's Torchwood: The Three Monkeys, so special. 

Tom Price and Burn Gorman seem to be having a ball reprising their roles. Lockdown and remote recording has in no way dampened their enthusiasm for the job.

But despite the humour and good rapport between the characters, we still have the dark tragedy of Owen's "living death". We also learn of a massive tragedy within Andy's family.

Writer James Goss handles the human story, the comedy of the "No Activity" style car setting and the ensuing action very well as is common with his writing.

Combined with Lee Binding's very creepy cover art and Scott Handcock's reliable direction, The Three Monkeys is a thoroughly enjoyable addition to the Torchwood monthly range.

Buy Torchwood: The Three Monkeys directly from the Big Finish website.

Dwayne Bunney

REVIEW | Doctor Who: Daughter of the Gods by David K. Barnes

With so much output from Big Finish to keep up with, it may be easy to overlook some of the little gems that exist.

Take for instance, Daughter of the Gods by David K. Barnes, a first and second Doctor story featuring Jamie and Zoe, as well as Steven Taylor, and revolving around a companion with only a single tv episode plus a clip as a visual reference, Katarina.  

Most of us will know the story of Katarina's demise in The Daleks' Masterplan and credit must go to the "ideas man" of Big Finish, David Richardson, for the basis of this beautiful yet heartbreaking story. 

Creating a multi-Doctor story for an era that we didn't know much about the Doctor could be difficult, but Barnes has done a sensitive job in telling this tale, not only to keep within existing continuity, but he makes the sci-fi and timey-whimey concepts within it easy to understand. 

One of the most popular of the early adventures is "The Dalek Invasion of Winter" also penned by the same author. Barnes has a good handle on the era and it's little wonder he was asked to write this one. 

Each episode of Daughter of the Gods keeps you wondering what will happen next, with a new revelation to be uncovered and explored after each cliffhanger. 

Peter Purves and Fraser Hines are superb as always in their dual roles of both companion and Doctor, taking the listener right back to that era with ease. 

The casting of Ajjaz Awad as Katarina is a masterstroke. Together she and Purves create a relationship between Doctor and companion that would have been a pleasure to see back in the 60's, showing just how warm the first Doctor could truly be. 

This is not just for fans of the audios. I would recommend anyone who is a fan of the 60's era of Doctor Who take a listen to this. 

You will not be disappointed. 

Purchase Doctor Who: Daughter of the Gods directly from the Big Finish website on CD or download. 

Dwayne Bunney

Review: The Sixth Doctor and Peri - Volume One

Commissioned to celebrate Big Finish’s 20th Anniversary, this set has taken almost two years to be released since recording. It was well worth the wait. 

The Box set format, with four 50 minutes stories, has worked really well for good old Sixie. The stories rocket along at a frenetic pace but manage to throw in a number of unexpected twists and turns along the way. High adventure and low humour abound in the stories and the relationship between the Doctor and the older Peri, now several years after her ordeal on Thorus Beta, works beautifully. This is the TARDIS team the TV show couldn’t get right but once again Big Finish shows how it should be done.

The four authors have all found the voice of the leads perfectly. It is great having Jacqueline Rayner writing a new story, as she always manages to find the heart of a subject and her take on the power of social media with the second story “Like” manages to both make you laugh and yet see the very real danger of a society that only acts by likes and not what is right. She manages to hold a mirror up to society without being preachy. 

The other standout story for me was “Conflict Theory”. The Freudian puns and psychology jokes come thick and fast and writer Nev Fountain, actress Nicola Bryant’s real life partner, spoils Peri with witty dialogue and some great action. 

 Four great stories. Here’s hoping that there are many more boxsets like this to come.

Grab a copy of The Sixth Doctor And Peri: Volume One directly from the Big Finish website.

Philip Edney