I’ve mentioned in the past how much I enjoy the Doctor Who audio plays produced by Big Finish. I actually reviewed a few of them on Associated Content a couple of years ago, but until now I’ve yet to discuss them in any detail on this blog.
As I recounted in my review of the serial “Kinda,” when I was eight or nine years old some of the earliest Doctor Who stories I saw were the Peter Davison ones. So it’s always a pleasure to listen to one of the Big Finish audios starring him. Each time, it feels a little bit like it did on those weekday evenings at 6 PM, tuning in to WLIW Channel 21, to catch the next episode of the show.
In the last few years, Big Finish has been adopting for the audio format a number of “lost stories,” i.e. Doctor Who scripts that made it to various stages of completion but, for one reason or another, were never actually filmed. The obvious choice to start off that range was Colin Baker’s lost season, which would have featured such serials as “The Nightmare Fair.” Now, having completed a number of these with Baker & Nicola Bryant, Big Finish has turned its attention to Lost Stories from other eras of the show.
“The Children of Seth” was an unproduced script by Christopher Bailey, who also wrote “Kinda” and “Snakedance.” As readers of this blog may recall, “Kinda” is a favorite of mine, so when I first heard about “The Children of Seth,” I was understandably curious. I finally had an opportunity to purchase a copy of the story at the New York Comic Con, from the Doctor Who Store. Peter Davison was a guest at the convention, so of course I had him autograph it.
In addition to its authorship and it featuring the Fifth Doctor, another reason why I decided to get “The Children of Seth” was that it stars Honor Blackman and David Warner, two very good, distinguished actors. As well as that, Janet Fielding and Sarah Sutton reprise their roles as Tegan and Nyssa. I always felt that the three person team of the Fifth Doctor, Tegan, and Nyssa was a very strong one, and regrettably that particular line-up only appeared in a handful of stories (sorry, any Adric fans out there, but I think the TARDIS was too crowded with four people, and Matthew Waterhouse was given some really bad material to work with in Season 19).
In “The Children of Seth,” the Doctor receives a cryptic message from the Archipelago of Sirius, a city located inside an immense hollowed-out asteroid. Arriving in the TARDIS, the Doctor encounters an old acquaintance of his he first met in a previous regeneration, Anahita, the consort to Sirius, Autarch of the Empire. Anahita has learned that the ambitious Lord Byzan, who has gradually been usurping power from the now-elderly Sirius, is about to propel the Empire into war, a crusade against the mysterious Seth, Prince of the Dark. Foreseeing the immense loss of innocent life and the potential ruin of the Empire, Anahita, who has been exiled from the court, is desperate to reach Sirius and convince him to intercede. And she hopes that the Doctor will aid her in thwarting Byzan’s ever-growing web of influence.
“The Children of Seth” is very much a political thriller, with plots and counterplots, schemes and betrayals, machinations and manipulations. If this story had actually been produced in the 1980s, I’m uncertain if my young self would have actually enjoyed it. Back then, one of my main reasons for watching Doctor Who was the monsters, and aside from the mantis-like security drones, “The Children of Seth” is extremely notable for the absence of any aliens or strange creatures.
Of course, as an adult, I absolutely loved it! The characters are all very well developed, and there is a great deal of moral ambiguity to everyone. Honor Blackman does a superb job portraying Anahita, a well-intentioned but occasionally ruthless figure. Her reputation as “Mistress of the Poisons” will undoubtedly tell you that she doesn’t always walk the straight & narrow path. Blackman is just majestic as this at-times inscrutable figure.
Adrian Lukis also is excellent as Byzan, imbuing him with a mix of runaway ambition, megalomania, and paranoia. It’s interesting that Byzan will crush dissent by gleefully dispatching political prisoners to be mind-wiped & exiled to the mysterious Level 14, and he’s ready to plunge the Empire into a pointless war, but he actually draws the line at cold blooded mass murder. Having a villain with the slightest of scruples can be much more interesting, and realistic, than having a one-dimensional black-hearted fiend.
Finally, David Warner portrays Sirius, the now doddering figurehead ruler of the Empire. This was a relatively small part for someone of Warner’s stature, but he gives it his all, bringing to life a once-great man now crippled by nostalgia, the onset of dementia, and an unwillingness to perceive the political corruption taking place around him. However, once his people are actually threatened, this aged ruler is ready to stand on the front lines again. And despite his acrimonious relationship with Anahita, when faced with the possibility of losing his wife, Sirius is despondent.
Janet Fielding is given a substancial portion of the action in “The Children of Seth.” In many ways I think Tegan was almost a prototype for Catherine Tate’s character Donna Noble. The difference is that too often Tegan was scripted as overly aggressive and pushy, rather than assertive. One of the few writers on Doctor Who to do the character justice and give Fielding good material to work with was, of course, Christopher Bailey. So it’s no surprise that Tegan in “The Children of Seth” is an interesting, engaging character, rather than a mouth on legs. Fielding does an excellent job, especially in the scenes where she is paired with Honor Blackman.
Unfortunately, the character of Nyssa is sidelined for much of the story. So I felt that Sarah Sutton wasn’t given much to do. That said, the Fifth Doctor and Nyssa have been featured traveling without Tegan in quite a few of the earlier Big Finish stories, so Sutton has already gotten the spotlight in several of those stories. Given those circumstances, I enjoyed Tegan featuring in a large portion of “The Children of Seth” instead.
And what about Peter Davison himself? Well, to a degree the Doctor is also pushed to the sides for a bit, in favor of Tegan and Anahita. But then Davison is really given an opportunity to give it his all in the final episode of “The Children of Seth,” and he makes the most of it.
From the behind-the-scenes interviews on the CDs, as well as info from Doctor Who Magazine, I gather that Bailey’s scripts for “The Children of Seth” were in the early draft stage when the decision was made to drop the story. Marc Platt, himself a good writer who has done extensive work for Big Finish, was recruited to transform these into something that could be recorded as an audio play. Happily, instead of merely dusting off Bailey’s old scripts and finishing them on his own, Platt met in person with him, and they discussed the best way to resolve the various plot problems, as well as come up with an ending to the story. I don’t know where Bailey’s work ends and Platt’s begins. Whatever the case, “The Children of Seth” is an excellent story.
One last thing… I would have to say that “The Children of Seth” is not a casual listen. I was not expecting it to be, though, given that “Kinda” has to be one of the most complicated Doctor Who stories ever made. I knew what I was in for, that I’d really have to pay careful attention to the audio play to keep track of the characters and plotlines. It wasn’t easy, but it was definitely worth the effort.
That said, in one respect the audio format is undoubtedly a strength. It enabled me to envision the Archipelago of Sirius as a vast city with crowds of people, instead of merely a bunch of corridors occupied by a handful of extras, which is probably how in would have appeared if the story had actually been filmed in the early 1980s on a shoestring budget.
In any case, given its complexity, at some point I intend to sit down again to re-listen to “The Children of Seth.” It’ll be interesting to see what I get out of it a second time.