
Softer Six: ‘The Doctor. The serpent who poisoned the Empire…’ Caught in a temporal disaster, the Doctor’s life is stretched out before him and other faces stretch out before Mila who recognises them from her time hanging around in the TARDIS all these years. The Doctor ponders on whether he has had lots of different lives or one big life and decides he prefers the latter and concludes that it has mostly been fun. When you are a traveller of the temporal highways and byways being late is never an issue (or so you would think!). Lateness is irrelevant because you can still respond to a distress call early and urgency becomes a thing of the past. That explains an awful lot about his irreverent attitude! His summons to Draconia has been in his in tray for over 150 years and he suggests that now a response might be in order. He once beat the 15th Emperor at Sazoo (a kind of Draconian chess), forgetting that you are supposed to lose with as much skill and as humbly as possible to make the Emperor look extremely skilful in beating you – the only thing that stopped him from getting his head lopped off was the fact that he had just saved the planet from a horrific space plague. The Doctor slips into Lord Salisbury’s dinner jacket feeling that this visit requires subtle elegance! He expects the Emperor to ascend to a happy hunting ground or a hall of heroes and finds that the reality of a solid manifestation of a metaphysical concept leaves a lot to be desired. Remembering his first incarnations adventures on Draconia induces a sense of wistful nostalgia in him, you can imagine the sixth Doctor staring into space grinning as he talks poetically of games with the Emperor and courtly politics. You feel the weight of the Doctor’s relationship with the Emperor when he uncovers the living hell he is being trapped in and asks him if he was genuinely ill or if he was forced out of power and into near death. When asked by the many Emperors being held in this pathetic state for the release of death the Doctor violently refuses, he cannot commit murder. It almost sounds like a reaction to his homicidal tendencies at the beginning of his regeneration.

Standout Performance: Whatever you might want from a performer in Doctor Who, Paper Cuts has it. There’ Colin Baker’s blissfully charismatic and elegiac Doctor, India Fisher on form playing a resourceful companion who has secrets of her own, a wonderfully villainous turn from Sara Crowe as the Queen Mother, melodrama personified in Anthony Glennon’s wonderful power hungry Prince, down to Earth charm from Paul Thornley’s Gomori and a sympathetic from Nick Briggs himself as he brings the Red Emperor to life. A stellar cast and no mistake.
Sparkling Dialogue: ‘I shall wrap myself in such clouds of despair that the skies shall weep!’
‘Draconian culture is very formal. Austerely elegant to the point of minimalist. Masked priests, ferocious warriors, the contemplation of a single white blossom. That sort of thing.’
‘The eager dog is always the first to stumble over the cliff…’
‘A Doctor in a celestial tomb? Aint that a bit late?’
‘Condemning fifteen wizened Emperors to eternity like a set of mouldering books on a forgotten shelf!’
‘What’s a sacrifice if we don’t lose something we value?’

Audio Landscape: Opening with the sound of the TARDIS shattering into millions of tiny pieces, Nick Briggs sure knows how to give a story an entrance! Jumping into water and bubbles breaking and floating to the surface, wading through the water, birdsong, horses galloping, water flowing down stream, polite laughter and applause, astonishingly Briggs manages to convince that an army of paper warriors is attacking, slashing their flammable swords that could slice right through you, pouring tea, screaming babies, scribbling, heavy breathing, slashing through a paper door, birds screaming, the Sazoo armies slicing each other to pieces, the screaming demands of angry Emperors.
Isn’t it Odd: It might have been wiser to have had this story open the season so Charley could have enjoyed an adventure on Draconia before succumbing to the control of Mila in Patient Zero (which in itself has far more links with Blue Forgotten Planet and could have seamed into each other beautifully). I can completely understand why they would want to open this trilogy with a wham bang Dalek spectacular full of incident and twists because it would get people talking about the range…and it worked too. But for the sakes of the running story it harms it slightly because the Mila narrative is completely unnecessary in Paper Cuts but it is understandable that Briggs chose not to open Charley’s final hurrah trilogy with a story this relaxed.
Standout Scene: Its extremely satisfying to see that neither the scheming Queen Mother and her stress on tradition nor her son who wanted to shrug of the shackles of the past and forge his own dictatorship succeed in earning the throne. One is murdered brutally in typical royal fashion and the other has to face the angry demands of more than one vicious Emperor that have been cut off at their height.
Notes: There is a bleed over of Patient Zero’s plot as the Doctor reveals that the Daleks have succeeding in releasing the Amathustra viruses or as Charley puts it ‘they really did beat you this time?’ Unfortunately his unwillingness to tidy up the loose ends of his adventures means the Daleks bide their time gathering up the viruses and create a literal hell on Earth for the Doctor in the staggeringly dramatic Lucie Miller/To The Death. Perhaps he will be a little more tidy next time. The Doctor even states that living as long as he does that past events come back to bite you – ouch! Either this is a stunningly obvious moment of foreshadowing or a thoughtful moment tossed in by Marc Platt.
Result: The idea of the 15th Emperor assembling together four vigilants like Poirot pulling together his suspects in a good Agatha Christie mystery is really appealing, a fascinating approach to a traditional genre. A power hungry heir, his scheming mother, a fallen warrior, a mistaken peasant, a faux Charley and a bluff Doctor make an intriguing cast, all with secrets to reveal as the plot unfolds. It would have been so easy to set this story on Draconia and mundanely introduce us to the day to day life of one of the most elusive Doctor Who planets but Marc Platt never goes for the traditional options and chooses instead to explore the culture through the turbulent change of the death of an Emperor, setting the entire story inside a tomb. As you would expect from this author the dialogue is memorable and paints pictures and the characterisation goes beyond what you would expect from the stereotypes that these characters embody. My one complaint is that by telling a story with an economic cast of characters in one location means that the piece unfolds at a sedate pace but this is such a refreshingly different type of audio story for Big Finish I just relaxed into the story regardless. It’s a shame that this is a Mila story rather than a Charley one but interestingly she makes a decent match with Colin Baker’s championship audio Doctor. Nick Briggs often surprises me as a director because I always peg him as the audio action man (especially after his superlative handling of his Dalek Empire series) but when he gets an opportunity to coax strong performances out of a small cast of actors he often ends up with a very powerful result (Creatures of Beauty is another example). I’m sure this isn’t what the audience wanted at the time when the fate of Charley was about to be revealed but denying people what they want is often the best approach and taken as a story in its own right Paper Cuts is an engaging character drama that looks at an old race in a fresh way: 8/10
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