On nineteenth Century Earth artist Edvard Munch hears an infinite scream pass through nature. Centuries later his painting of that scream hangs in a gallery on the barren dust world Duchamp 331. Why is there a colony of artists on a planet that is little more than a glorified garage? What is the event that the passengers of the huge, opulent pleasure cruiser ‘Gallery’ are hoping to see? And what is hidden in the crates that litter the cargo hold? The Doctor’s diary indicates that the painting is about to be destroyed in ‘mysterious circumstances’, and when he and Ace arrive on Duchamp 331, those circumstances are well underway.
Written By: Mike Tucker
Directed By: Gary Russell
Anyone keeping up with my Big Finish Audio reviews will recall that I generally feel that the Seventh Doctor stories based on the Virgin New Adventures line of books are …. not my cup of tea. I worried that this one was in that particular series, but was pleasantly surprised that it was not. Luckily I’m glad to report that this particular entry in the monthly line of audio dramas is in continuity with an earlier entry called The Genocide Machine and not The Shadow of the Scourge, the former being an entry that I quite enjoyed; the latter not so much. Containing The Doctor as played by Sylvester McCoy (soon to be in a Hobbit film near you!) and Ace, as played by Sophie Aldred, this adventure seems just like a continuation of the original show, just if it lasted a bit longer.
One of the major strengths of this drama is the great cast within. There are a few questionable choices, as is usually the case with a lot of these early plays, such as a weird accent used by Caroline John, but the direction here is usually spot on. McCoy does great as The Doctor here, playing the role in such a way that it lines up far closer to the way the role was performed on the television show, not the yelling angry style found in the aforementioned “New Adventures” plays. Louise Falkner appears here as a Captain Jack-esque tertiary companion named Bev Tarrant, a character that previously appeared in The Genocide Machine.
Above and Beyond, the highlight of this play (for me at least) was the return of the Master as played by Geoffrey Beevers. Beevers previously held the role for a short time at the end of Tom Baker’s tenure on the main show, and was portrayed as somewhat of a walking corpse teetering on death at the end of his regenerations. Fairly early on, we are introduced to a wealthy man named Mr. Seta who wears an extraordinary jewel covered mask and is a bit less than trustworthy. Of course “Mr. Seta” is just another one of The Master’s playful anagrams of his own name, a fact that The Doctor should really pick up on at some point. Granted, his plan is ridiculous, and his regression back to his previous iteration (Anthony Ainley was very ill at this time and did not want to participate) is not very well explained, but it was nice to see Beevers do the role for a bit longer than he did in the past. I’m no Ainley hater, but the role was a tad silly when he was playing it, and Beevers adds the darkness back that was originally there with the first Master as played by Roger Delgado.
Many of the best dialog segments where by Mr. Seta / The Master, such as this gem:
‘You’ve spent your life looking at masks Madame Salvadore, without ever wondering what lay beneath them. Would you like to see beneath my mask..?’
The plot has some silly, or convenient moments, and the main villain of the piece wasn’t all that spectacular but all in all this was a good listen. Little touches like a droning noise that sounds like a screaming Dalek in the background really makes Duchamp 331 a planet to be truly feared, and helps sets this play above merely “average”. I loved the Master in this, had he not been present I’m not sure if I would have liked the final product nearly as much. For me, Big Finish dramas with the McCoy Doctor have been hit or miss, but this one was a nice surprise.