The Doctor decides to give Margaret Hopwood a treat – but gets a chilly reception…

You can tell when Tom Baker really seems to enjoy working on a story – his energy levels rise almost exponentially, and everyone around him gravitates higher with their performances. That’s definitely the case for Guy Adams’ starter for the latest set of Fourth Doctor stories, which gives Baker plenty of virtuoso moments that make a nonsense of the actor’s chronological age and feel as if they’ve been T-Matted forward from the vaults of 1977. Whether he’s praising or decrying the use of pockets, facing off against an Ice Warrior who’s really doing his best to annoy him, or expressing his disappointment when his attempts to do a good deed fall flat, this is the Fourth Doctor in all his glory.

He’s supported by terrific performances from Louise Jameson and Nerys Hughes as Leela and Margaret. This is a new dynamic for Leela – she’s no longer the Doctor’s only pupil, and, she realises, there are times where she effectively ends up being the Doctor. She’s also brought up short by some of Margaret’s observations about the relationship between the Doctor and her, and is given a wonderful chance to explain just what it is about the Doctor – and it’s something that should apply to all incarnations – that makes her want to spend time with him. There’s the inevitable fish out of water moments for Hughes’ Hopwood, but there’s one in particular that feels really grounded, as Margaret comes to terms with the temporal relocation and basically does what most of us would in that situation – runs away. Of course, this being Doctor Who, that puts her in peril.

Adams gives us a clever combination of the classic Ice Warriors from the Troughton and Pertwee period and the more honour-related ones from the Moffat era. It always feels like a misstep when the Martians are treated stereotypically, and Nick Briggs’ leader has some nice nuance, as does Adele Lynch’s Kaltakk. And this being an intergalactic art gallery, humans and Martians aren’t the only aliens around, providing Beth Goddard with a chance to let loose. The humans also avoid stereotyping (although in some cases are exceptionally irritating as they do) and Robert Whitelock’s Stringer and Oliver Chris’ Dorn are nicely judged characters, both in writing and performance.

Combine all that with taut direction from Briggs, and complementary sound design and music from Toby Hrycek-Robinson and Jamie Robertson respectively, and you’ve got one of the best Fourth Doctor releases.

Verdict: A very cool tale and a strong welcome back for Nerys Hughes to the range. 9/10

Paul Simpson

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