In the immediate aftermath of his regeneration, the Time Lord formerly known as the Doctor has to work out where he now fits in the universe.

I’ll admit that I had some concerns about this series, like, I suspect, many others, but before a quarter of the first story had elapsed, I was sold. Jonathon Carley is a definite find for Big Finish, and working with director Louise Jameson, he’s given us a Doctor of War that sounds as if it could be a younger John Hurt playing the part. It’s a classic example of the necessity to cast someone who can act the role as well as provide a vocal duplicate – there are excellent mimics out there, but when it comes to the more dramatic moments, they can be flummoxed. The impression I have is that Carley has approached this with the attitude of not just “What would John Hurt sound like saying this line?” but also “How would he approach it?”

Matt Fitton’s script gives him plenty to work with. We pick up moments after The Night of the Doctor, with the repercussions of that episode still very much current – after all, it wasn’t just eight minutes of the Eighth Doctor regenerating! Veronica Roberts’ Ohila has plenty of tricks up her sleeve, as we know from the TV series, and Fitton expands our knowledge of both the Sisterhood and their world – as well as reacquainting us with key members of the Big Finish Time War cast. Helen Goldwyn steps back in front of the microphone as the ruthless Commander Sanmar whose life trajectory can be seen as an object lesson to the Doctor…

Jack Townley’s sound design adds a great deal with Howard Carter’s score never overpowering the drama and Jameson keeps things moving well. Roll on the rest of the set.

Verdict: Jonathon Carley and the team have big shoes to fill, and producer David Richardson and all involved can be pleased that this first story works really well. 9/10

Paul Simpson

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