The Diary of River Song: A Requiem for the Doctor by Jacqueline Rayner (Big Finish, 2018) A somewhat predictable story overlaid onto its historical setting (rather than using it to any intrinsic purpose). Alex Kingston and Peter Davison work well together but cannot mitigate the feeling of treading water. The Doctor’s new companion is presented without any explication.
Doctor Who: The Bride of Peladon by Barnaby Edwards (Big Finish, 2008) Edwards has successfully paired Peter Davison’s Doctor (in all its earnestness) with Pertwee-era Peladon and many of the elements associated with that original brace of stories. The production features intrigue and misdirection (without overdoing it), decent voice acting and a surprise villain.
Doctor Who: Empire of the Racnoss by Scott Handcock (Big Finish, 2017) Peter Davison is in fine form and clearly relishing his freedom from petulant, dialogue deadweight companions. Unfortunately the Racnoss are equally hard to stomach, here proving themselves to be one of Doctor Who’s most incessantly shrill, one-dimensional and irrationally motivated alien races.
Doctor Who: Mawdryn Undead by Peter Grimwade; dir. Peter Moffatt (BBC, 1983) Doctor Who’s take on the Flying Dutchman offers up what should have been a staggering moral quandary, played subtly by Peter Davison but undercut by the plot’s bumbling Brigadier resolution. Turlough is a welcome addition, the exuberant synthesiser music perhaps less so.
Is There Life Outside the Box? An Actor Despairs by Peter Davison (John Blake, 2016) Peter Davison is self-deprecating to a fault in this frank, entertaining, career-spanning autobiography, taking responsibility for his failings but not his successes (which are put down to good fortune and the one acting ability Davison is prepared to acknowledge: hitting his mark).