The Seventh Doctor, Ace and Hex land in Ireland where they encounter Oliver Cromwell and Hex learns some hard lessons.
1 Comment
Styre
on May 8, 2016 at 12:40 AM
THE SETTLING
In my review of the previous month’s historical “The Kingmaker,” I applauded author Nev Fountain’s ability to breathe new, exciting, post-modern life into the Doctor Who historical. In many ways, Simon Guerrier’s “The Settling” is diametrically opposed to “The Kingmaker,” as it presents a straightforward Hartnell-style historical, devoid of satire. It also represents an interesting decision on the part of Big Finish — releasing two historicals in a row — but, more importantly, it illustrates how two completely different, yet completely brilliant Doctor Who stories can be told in the same genre.
Of course, the very best historicals understand that they must be about their characters: without a “Kingmaker”-style script with a surprising plot, you’re left either with a historical event with a defined outcome or with a generic historical setting and a necessarily predictable plot. Observe “The Smugglers” or “The Highlanders:” they’re good enough stories, but they’re little more than simple runarounds that tell us little or nothing about the people involved in them. “The Aztecs” — and its latter-day counterpart, “The Council of Nicaea” — works so well because it focuses upon Barbara’s heroic but misguided desire to change history for the better. The intrigue of “The Massacre” is fairly interesting, but Steven’s journey makes the story a classic. Likewise with “The Settling,” which focuses primarily on Hex, allowing him to develop within the context of the historical setting.
In many ways, Hex travels the same road as several companions before him: the Doctor takes him to a familiar historical setting — Cromwell’s Irish campaign, 1649, specifically at Drogheda — he observes an atrocity with no intent of interference, and his human nature leads him to attempt to intervene. But this time the Doctor doesn’t stay with him to urge him to stop, and this time Hex finds himself in the perfect position to effect change: at the right hand of Cromwell himself. And though Hex is eventually removed from Cromwell’s side — thanks in part to a smart cliffhanger from Guerrier about the phrase “Oh my God” — he seems to have touched the leader, made him reconsider his policies. But Guerrier leaves the tragic surprise for last: Hex’s own foreknowledge of history causes him to distrust Cromwell’s honest overtures for peace, and thus it is Hex who instigates the violence that escalates into the infamous sack of Wexford.
These events are not without consequence. Guerrier tells the story in flashback, framing it in a conversation between Hex and Ace in the TARDIS following their departure from Ireland. Hex is deeply shaken by what he has seen and done, and contemplates leaving — something which is rarely seen from new companions, who generally never want their adventures to end. We also see Hex developing an unrequited attraction to Ace, something which almost certainly will be explored in the coming plays. Throughout all of this, Philip Olivier gives an astonishing performance: this is his story, and he controls it throughout.
If there is another main character in “The Settling,” it is certainly Oliver Cromwell (Clive Mantle) himself. Guerrier writes an intriguing, conflicted Cromwell, a man who ultimately believes the ends justify the means, but who desperately hopes to avoid using extreme measures. Mantle’s performance is first-rate: it takes Hex a long time to access Cromwell’s softest side, and Mantle is utterly believable as Hex slowly unearths it — but he is equally terrifying when Cromwell reverts to his natural anger and defensiveness. This is the sort of guest performance great Doctor Who is built upon.
Ace, meanwhile, is possibly the most mature we’ve seen her. After the dreadful “McShane” misstep, Big Finish now appears to be shaping Ace into a mature, experienced woman, and the character is all the better for it. She’s no longer as impulsive, her understanding of right and wrong is no longer childish, and she generally presents herself as an experienced time traveller. Sophie Aldred’s performance is a bit flat — she’s great in the framing scenes with Olivier, but seems pitched a bit wrong in other scenes — but is still, on the whole, quite strong.
I’ve left the Doctor for last for a good reason: he’s firmly a supporting character in “The Settling.” Unlike many Sylvester McCoy stories where he stays in the background yet always influences events, here the Doctor is concerned primarily with Mary (Claire Cathcart) and her baby, leaving the world-shaping events to his companion. McCoy gives an interesting portrayal of the Doctor: his line readings are similar to the style that usually foreshadows a poor performance, but he delivers his lines with an effective, emotional understatement. Despite being separated from the plot, the scene where he delivers Mary’s baby stands as one of those great “Doctor moments” that last long after a story’s novelty wears off.
Cathcart’s performance as Mary is excellent, capturing an innocent caught in the middle of a brutal war. Hugh Lee’s turn as Fitzgerald is suitably heroic to justify the later tragedy, while Roger Parrott provides hope for the future as Dr. Goddard. Much of the rest of the (sizable) supporting cast is forgettable, though Alan Ruscoe and Steven Wickham go a bit too far over the top as soldiers Coote and Turner, giving them stereotypical almost-comedy accents that jar with the tone of the play. Overall, however, the acting in “The Settling is excellent.” Much the same can be said of David Darlington’s sound design: it is very easy to believe yourself in a war-torn Ireland, especially with the threatening thunder-like sounds of explosions on the horizon. The battle scenes, however, are confusing; though I understand that a battle is by nature chaotic, it is difficult to tell who has been hurt or killed and who has survived. I hold Darlington’s score in the highest regard: it’s a brilliant string mix that stands as one of the best since the start of the range. And the cover art — absolutely beautiful. Lee Binding deserves an award.
If the previous month’s “The Kingmaker” showed a brilliant new take on the Doctor Who historical, “The Settling” serves as a perfect counterpart: a brilliant new Hartnell-style historical. Sure, it has minor flaws, but let’s not get confused: this is one of the best BF historicals, one of the best BF McCoy stories, and a genuinely great Doctor Who story. With three top-tier releases in the first six, 2006 is shaping up as one of Big Finish’s best-ever years — here’s hoping it continues.
THE SETTLING
In my review of the previous month’s historical “The Kingmaker,” I applauded author Nev Fountain’s ability to breathe new, exciting, post-modern life into the Doctor Who historical. In many ways, Simon Guerrier’s “The Settling” is diametrically opposed to “The Kingmaker,” as it presents a straightforward Hartnell-style historical, devoid of satire. It also represents an interesting decision on the part of Big Finish — releasing two historicals in a row — but, more importantly, it illustrates how two completely different, yet completely brilliant Doctor Who stories can be told in the same genre.
Of course, the very best historicals understand that they must be about their characters: without a “Kingmaker”-style script with a surprising plot, you’re left either with a historical event with a defined outcome or with a generic historical setting and a necessarily predictable plot. Observe “The Smugglers” or “The Highlanders:” they’re good enough stories, but they’re little more than simple runarounds that tell us little or nothing about the people involved in them. “The Aztecs” — and its latter-day counterpart, “The Council of Nicaea” — works so well because it focuses upon Barbara’s heroic but misguided desire to change history for the better. The intrigue of “The Massacre” is fairly interesting, but Steven’s journey makes the story a classic. Likewise with “The Settling,” which focuses primarily on Hex, allowing him to develop within the context of the historical setting.
In many ways, Hex travels the same road as several companions before him: the Doctor takes him to a familiar historical setting — Cromwell’s Irish campaign, 1649, specifically at Drogheda — he observes an atrocity with no intent of interference, and his human nature leads him to attempt to intervene. But this time the Doctor doesn’t stay with him to urge him to stop, and this time Hex finds himself in the perfect position to effect change: at the right hand of Cromwell himself. And though Hex is eventually removed from Cromwell’s side — thanks in part to a smart cliffhanger from Guerrier about the phrase “Oh my God” — he seems to have touched the leader, made him reconsider his policies. But Guerrier leaves the tragic surprise for last: Hex’s own foreknowledge of history causes him to distrust Cromwell’s honest overtures for peace, and thus it is Hex who instigates the violence that escalates into the infamous sack of Wexford.
These events are not without consequence. Guerrier tells the story in flashback, framing it in a conversation between Hex and Ace in the TARDIS following their departure from Ireland. Hex is deeply shaken by what he has seen and done, and contemplates leaving — something which is rarely seen from new companions, who generally never want their adventures to end. We also see Hex developing an unrequited attraction to Ace, something which almost certainly will be explored in the coming plays. Throughout all of this, Philip Olivier gives an astonishing performance: this is his story, and he controls it throughout.
If there is another main character in “The Settling,” it is certainly Oliver Cromwell (Clive Mantle) himself. Guerrier writes an intriguing, conflicted Cromwell, a man who ultimately believes the ends justify the means, but who desperately hopes to avoid using extreme measures. Mantle’s performance is first-rate: it takes Hex a long time to access Cromwell’s softest side, and Mantle is utterly believable as Hex slowly unearths it — but he is equally terrifying when Cromwell reverts to his natural anger and defensiveness. This is the sort of guest performance great Doctor Who is built upon.
Ace, meanwhile, is possibly the most mature we’ve seen her. After the dreadful “McShane” misstep, Big Finish now appears to be shaping Ace into a mature, experienced woman, and the character is all the better for it. She’s no longer as impulsive, her understanding of right and wrong is no longer childish, and she generally presents herself as an experienced time traveller. Sophie Aldred’s performance is a bit flat — she’s great in the framing scenes with Olivier, but seems pitched a bit wrong in other scenes — but is still, on the whole, quite strong.
I’ve left the Doctor for last for a good reason: he’s firmly a supporting character in “The Settling.” Unlike many Sylvester McCoy stories where he stays in the background yet always influences events, here the Doctor is concerned primarily with Mary (Claire Cathcart) and her baby, leaving the world-shaping events to his companion. McCoy gives an interesting portrayal of the Doctor: his line readings are similar to the style that usually foreshadows a poor performance, but he delivers his lines with an effective, emotional understatement. Despite being separated from the plot, the scene where he delivers Mary’s baby stands as one of those great “Doctor moments” that last long after a story’s novelty wears off.
Cathcart’s performance as Mary is excellent, capturing an innocent caught in the middle of a brutal war. Hugh Lee’s turn as Fitzgerald is suitably heroic to justify the later tragedy, while Roger Parrott provides hope for the future as Dr. Goddard. Much of the rest of the (sizable) supporting cast is forgettable, though Alan Ruscoe and Steven Wickham go a bit too far over the top as soldiers Coote and Turner, giving them stereotypical almost-comedy accents that jar with the tone of the play. Overall, however, the acting in “The Settling is excellent.” Much the same can be said of David Darlington’s sound design: it is very easy to believe yourself in a war-torn Ireland, especially with the threatening thunder-like sounds of explosions on the horizon. The battle scenes, however, are confusing; though I understand that a battle is by nature chaotic, it is difficult to tell who has been hurt or killed and who has survived. I hold Darlington’s score in the highest regard: it’s a brilliant string mix that stands as one of the best since the start of the range. And the cover art — absolutely beautiful. Lee Binding deserves an award.
If the previous month’s “The Kingmaker” showed a brilliant new take on the Doctor Who historical, “The Settling” serves as a perfect counterpart: a brilliant new Hartnell-style historical. Sure, it has minor flaws, but let’s not get confused: this is one of the best BF historicals, one of the best BF McCoy stories, and a genuinely great Doctor Who story. With three top-tier releases in the first six, 2006 is shaping up as one of Big Finish’s best-ever years — here’s hoping it continues.
Highly recommended.
9/10