Earth is still suffering the after-effects of the asteroid (or something) which collided with the planet many years ago: the dust cloud which blots out the sun shows no sign of settling and the dinosaurs are doomed. Above the cloud, colonies of winged reptiles – more intelligent than any we know of – are fighting to survive. A strange creature calling itself Summerfield appears in their midst: is it destined to save them?
The Adolescence of Time
Lawrence Miles, arguably one of the most controversial writers to ever grace Doctor Who spin-off media, has long argued against writers taking the easy option. Known for his high concept ideas and complex characters rather than for natural writing, he is an unusual choice to follow Eddie Robson’s admittedly simple ‘Beyond the Sea’. That’s fine, this is an odd play. Odd; but very far from disappointing.
Peter Summerfield has been on the periphery of Bernice’s adventures for what seems like years now. His birth, and then his safety, were key storylines a couple of seasons ago. However with the exception of Jacqueline Raynor’s ‘The Grel Escape’ and the dramatic plot twist last season, his presence hasn’t really had an impact on the adventures. He has been present, but not visible as a character, and we’ve only had one story to really get to see who and what he is so far.
So for a writer looking to challenge himself, properly introducing us to the character of Peter Summerfield appears to be a worthy task. Again Lawrence Miles does not go for the easy option with shallow clichéd familiar tropes, he gives us someone troubled and awkward, going through all the pains of young adolescence. This is Peter’s first real adventure away from his mother, and after a childhood of listening to his mother’s voyages, as far as he knows its going to be easy. Wrong…
Lawrence Miles paints broad pictures of a civilisation on the brink of collapse. He contrasts pterodactyl equivalents to the earth-reptiles of old, ties in an all consuming cult of wormcallers and the arrival of a sullen pre-teen, alone and uncalled for, who wants his mummy.
The play starts with Celethua and Ixotta trying to work out what to do with the young boy, and there isn’t a better way to introduce us to our new central character. Later on we meet the ‘villain’ of the piece, the elder Tektekachuan, worshipper of the all encompassing worm. His dialogue, fatherly, albeit completely without passion, is an excellent contras to our preteen lead. All of these people have strange, alien, sentences to get their mouths around but they go through their performances with aplomb. Yet, most striking of all roles, is Lisa Bowerman’s small appearances as an omnipresent narrator, as if this entire story was just a bedtime tale she was relating to her son.
The Adolescence of Time is not an easy listen, but throughout every scene is carefully considered and deliberately striking, in a way that few other stories are. Plaudits to both Lawrence Miles and Thomas Grant for property giving us something both true and real and damn striking at the same time.
9 / 10