In commemoration of the fortieth anniversary year, 2003, Big Finish launched an “alternate” range of Doctor Who plays: Doctor Who Unbound, a series of productions which ask a fundamental “what if” question about the Doctor Who universe and show the results when that change is made. Produced separately from the main range, these plays demonstrate the true range of the Doctor Who universe: and they’re mostly excellent to boot.
The first Unbound release, Marc Platt’s Auld Mortality, is done in the author’s typically concept-heavy, metaphorical style that vanished somewhat for his two previous Big Finish plays. Here, though, it’s in full display, with the bulk of the story taking place within an idea generator which creates quasi-fictional worlds with which the user can interact. The central question? What if the Doctor never left Gallifrey?
The approach Platt takes is unexpected. Most authors, I’d expect, would examine the repercussions of this absence upon the universe, but Platt chooses to look at the Doctor himself, and he shows that the character is, at heart, totally unchanged. Indeed, Platt doesn’t even believe that the Doctor would have voluntarily stayed behind, and so we learn that the Doctor has been kept on Gallifrey against his will. Platt uses a similar Gallifrey to the one seen in Lungbarrow, and much like in his novel the Time Lord homeworld comes across as mystical and high-concept rather than base and political as it was sometimes seen on television. Hannibal’s crossing of the Alps is a fascinating parallel, with Hannibal’s search for the correct path mirroring the Doctor’s.
Part of the appeal of the Unbound series is the central role: for each play, the Doctor is recast as a new actor. Here, it’s Geoffrey Bayldon, who appeared in the series in The Creature from the Pit and was offered the initial role of the Doctor back in 1963. His portrayal comes across almost as an homage to Hartnell, as he shows remarkable range, shifting from gleeful to crotchety to heroic by the minute. Yet this isn’t an imitation: there aren’t any line fluffs, there’s no giggling, and only a couple of “hmm?”s make an appearance — what you see instead is how the first Doctor may have been if recasted, and it’s very impressive. This Doctor has his characteristic wanderlust, and the joy at the conclusion as he regains his freedom is palpable.
Returning to her role of Susan is Carole Ann Ford, and her performance is very reminiscent of her time on television — both in good ways and bad. At times, her line readings are questionable, especially when they’re heavy in technobabble — but her rapport with Bayldon is excellent and she convinces very well when she appeals as his granddaughter. Platt’s suggestion that Susan is in line for the Presidency is interesting if only because the character was never anything more than incompetent — but he writes her well and she’s recognizably the Susan we knew before.
The supporting cast is excellent. Derren Nesbitt is suitably creepy and threatening as Quences, Toby Longworth is hilariously exasperated as Badger, and Matthew Brenher’s Hannibal is everything you’d expect from the Carthaginian general. Special mention, though, to Ian Brooker, who manages as Surus to sound exactly like you’d expect a talking elephant to sound. It’s good to see that the BF guest casting success extends past the main range.
Alistair Lock’s sound design might be the best element of this play, as it manages to unite both the “reality” of Gallifrey plus the Doctor’s fictional worlds — the final scene is a masterpiece of design. Nicholas Briggs’ direction keeps clear a potentially muddy script — this is a great foundation for the next five plays in the series.
Auld Mortality isn’t perfect, with the few faults centering around Susan, but as a start to a range this is exceptional. By showing such an intriguing “what if” Doctor Who concept, Big Finish almost guarantee that listeners will want to check out the next play in the series — this is yet another success from Marc Platt that’s well worth picking up.
AULD MORTALITY
In commemoration of the fortieth anniversary year, 2003, Big Finish launched an “alternate” range of Doctor Who plays: Doctor Who Unbound, a series of productions which ask a fundamental “what if” question about the Doctor Who universe and show the results when that change is made. Produced separately from the main range, these plays demonstrate the true range of the Doctor Who universe: and they’re mostly excellent to boot.
The first Unbound release, Marc Platt’s Auld Mortality, is done in the author’s typically concept-heavy, metaphorical style that vanished somewhat for his two previous Big Finish plays. Here, though, it’s in full display, with the bulk of the story taking place within an idea generator which creates quasi-fictional worlds with which the user can interact. The central question? What if the Doctor never left Gallifrey?
The approach Platt takes is unexpected. Most authors, I’d expect, would examine the repercussions of this absence upon the universe, but Platt chooses to look at the Doctor himself, and he shows that the character is, at heart, totally unchanged. Indeed, Platt doesn’t even believe that the Doctor would have voluntarily stayed behind, and so we learn that the Doctor has been kept on Gallifrey against his will. Platt uses a similar Gallifrey to the one seen in Lungbarrow, and much like in his novel the Time Lord homeworld comes across as mystical and high-concept rather than base and political as it was sometimes seen on television. Hannibal’s crossing of the Alps is a fascinating parallel, with Hannibal’s search for the correct path mirroring the Doctor’s.
Part of the appeal of the Unbound series is the central role: for each play, the Doctor is recast as a new actor. Here, it’s Geoffrey Bayldon, who appeared in the series in The Creature from the Pit and was offered the initial role of the Doctor back in 1963. His portrayal comes across almost as an homage to Hartnell, as he shows remarkable range, shifting from gleeful to crotchety to heroic by the minute. Yet this isn’t an imitation: there aren’t any line fluffs, there’s no giggling, and only a couple of “hmm?”s make an appearance — what you see instead is how the first Doctor may have been if recasted, and it’s very impressive. This Doctor has his characteristic wanderlust, and the joy at the conclusion as he regains his freedom is palpable.
Returning to her role of Susan is Carole Ann Ford, and her performance is very reminiscent of her time on television — both in good ways and bad. At times, her line readings are questionable, especially when they’re heavy in technobabble — but her rapport with Bayldon is excellent and she convinces very well when she appeals as his granddaughter. Platt’s suggestion that Susan is in line for the Presidency is interesting if only because the character was never anything more than incompetent — but he writes her well and she’s recognizably the Susan we knew before.
The supporting cast is excellent. Derren Nesbitt is suitably creepy and threatening as Quences, Toby Longworth is hilariously exasperated as Badger, and Matthew Brenher’s Hannibal is everything you’d expect from the Carthaginian general. Special mention, though, to Ian Brooker, who manages as Surus to sound exactly like you’d expect a talking elephant to sound. It’s good to see that the BF guest casting success extends past the main range.
Alistair Lock’s sound design might be the best element of this play, as it manages to unite both the “reality” of Gallifrey plus the Doctor’s fictional worlds — the final scene is a masterpiece of design. Nicholas Briggs’ direction keeps clear a potentially muddy script — this is a great foundation for the next five plays in the series.
Auld Mortality isn’t perfect, with the few faults centering around Susan, but as a start to a range this is exceptional. By showing such an intriguing “what if” Doctor Who concept, Big Finish almost guarantee that listeners will want to check out the next play in the series — this is yet another success from Marc Platt that’s well worth picking up.
9/10.