Starring Colin Baker & Nicola Bryant.
Written by Philip Martin.
Directed by Ron Jones.
The TARDIS is adrift. Deprived of a vital power source, the Doctor and Peri have one last hope - the planet Varos. But Varos is a dangerous place. Trapped in the dreaded Punishment Dome, the Doctor and Peri must fight for their lives - and save the starving population for the machinations of the villainous, reptilian Sil...
Season 22 is a season now infamous in Doctor Who history for its high dependency on violence and continuity to fuel its stories. It's also regarded as a bit of a low-point in the show's history, for precisely these reasons. And Vengeance On Varos certainly has one of these traits in abundance, while the other is virtually absent. It's as violent as any other story in season 22, possibly more so than others in some regards, but, unlike a lot of the macho-posturing elsewhere in the season, this has a reason for it. And, while it's by no means perfect, (there are a couple of substantial plotting and pacing problems) Vengeance On Varos is easily one of the better Sixth Doctor stories thanks to its clever ideas, interesting characters and a production that manages to actually realise the ambition of the script.
The ideas that writer Philip Martin brews up are positively potent: in need of a mineral to power the TARDIS (a mystical time ship created by a race of demi-gods needing a special rock is a bit of a strange idea, I'll grant you), the Doctor and Peri arrive on the planet Varos, which is a former penal planet turned Earth colony, where the inhabitants are still treated as little more than convicts, while those in power enjoy luxury and wealth. It's basically Thatcher's Britain, transposed into Doctor Who, with the addition of 'reality shows', designed to keep the population pacified and unwilling to rebel. If anything, this is a rare instance of a Doctor Who story ahead of it's time: it seems to be critiquing modern society more than the society of 1985, and with the looming uncertainty of Brexit, its material could become even more relevant. The social commentary is the key aspect here: like Invasion Of The Dinosaurs or The Happiness Patrol, there's no real big sci-fi threat. The story is more about building a believable society and exploring the injustices and inequalities with in it. The Doctor and Peri barely appear for the first 25 minutes or so, limited to scenes inside the TARDIS bickering. I can't deny that keeping the Doctor out of the action for so long was possibly a mistake. This was an issue probably hindered by the change in format for this new season of Doctor Who. The change from 25 to 45 minute episodes and the problems that were faced by the writers and script editor Eric Saward are well documented, and Vengeance On Varos definitely suffers from them. The pace of the story is fairly glacial: I wouldn't say that Vengeance is ever boring, but there's a lot of material in here that I have to call padding. I don't necessarily think this is the 'fault' of anyone; just an inexperienced Who writer being forced to try and adapt to a new, relatively untested formula. I'd also argue that, at times, the story seems to go round in circles for it's own good. Martin has created the amazing concept of the Punishment Dome, yet seems perfectly content to ignore that, and instead have the Doctor and his allies captured and put to death about three times. Sure, we do get some interesting traps when in the Dome, but some of them are a little obvious, even for a show as unsubtle as Doctor Who can be at times (yes, I'm looking at you, Green Light Monster). While these elements do stunt the story slightly, I can't deny that it's still a great story, mostly because it's one of those Who stories that manage to create a whole, believable society. The world of Varos is expertly realised, not just dashed off because we need a setting for our plot. The lack of believable settings is a real problem of the Colin Baker years; out of the non-Earth based stories, I can only really think of Varos, Necros from Revelation Of The Daleks and Thoros Beta from The Trial Of A Time Lord (and maybe Ravalox from the same story, if we're bending the rules slightly). Martin constructs a believable world, which he fills with potent political commentary. And the idea of the Punishment Dome is a great one: a series of torturous traps and psychologically disturbing experiences designed to induce as much pain as possible. This has meant that the serial has come in for some intense criticism regarding its use of violence. Now, while I would agree that maybe less is more, I would say that if you are critiquing the violence, then you are missing the point of the story. Not only is it an attempt to try and depict the violence in the Doctor's adventures as realistic, but it's a critique on the 'video nasty' culture that was running rampant throughout the 1980's, and lead to the extension of the BBFC and the video classification system. Because of this, the story, quite naturally, has to be more violent than usual, otherwise it would look half hearted. I don't think it ever oversteps the line, and occasionally the boundaries do need to be tested, and this is an example where it can be done, without making the show look like it's turned into a 15-rated action thriller (I'm looking at you, Attack Of The Cybermen).
Where Martin has clearly focused his attention is upon his characters. He does a wonderful job at fleshing out each one, and making them seem like they have lives beyond what we see on screen. His most impressive creation is certainly the Governor, the 'head' of Varos, who is simply a puppet for the characters of the Chief Officer, Quillam and Sil. I love the idea of a planet where the ruler has to run his or her every decision by the people, and if they don't like it, they can vote for him to be obliterated. If we adopted a system like that in Britain, we'd get through Governors like there was no tomorrow, especially at the moment. Despite the fact that his position marks him out to be a weak man, Martin allows him to be a person of strong morals, who wants to do the right thing, but is simply unable to do so because of the system. In a way, the Governor is as much a slave of the system as the downtrodden peoples of Varos, for he most constantly try and appease them with quick fixes, despite the fact that the solutions to the problems facing Varos are incredibly complex. It's hard not to feel sorry for the Governor, and that's helped by a sympathetic performance from Martin Jarvis in the role, who gives the best of three appearances in the show here. He instantly gets that the character of the Governor is meant to be sympathetic, despite some of his attitudes, and he gives a measured, potent performance. Seriously, if you want a master class in Doctor Who guest star acting, then look no further. If it wasn't for who he was playing opposite, Jarvis would, without doubt, be the main talking point of this story. But, because of his memorable appearance and a superb bit of casting, that honour rests with Sil, the story's principle villain. I love Sil: he has a wonderfully interesting motive (well, at least for Doctor Who), and his design is very unique for the programme of this period. A villain who is motivated by pure greed for money makes for a very different type of villain to the normal 'conquerors of the universe' that populate the average Doctor Who tale. Contrast Sil with, say, the Borad or even Davros or the Master, and you see that he is something different. More along the lines of Skagra, Scaroth or the Fomasi, Sil is motivated by nothing more than filthy lucre, and it's a refreshing change. He also has been designed wonderfully by the production team, especially considering some of the work that had been put together in the previous story. While Sil is a fantastically written character, there's no doubt that a lot of the reason why he is such a success is down to Nabil Shaban, who takes the material and runs with it. His gargling laugh is absolutely terrifying, and is totally right for the kind of character he is. Everything about him seems totally perfect and suited for the role. He's also great at playing the subtly of the character too: the little moments of quiet are superbly played by Shaban, and they actually come across as quite menacing. Out of everything that came out of the Sixth Doctor's era, Sil, together with the Rani, is probably one of the greatest, most original, creations. The rest of the characters are also interesting as well. Forbes Collins is wonderful as the vile Chief Officer, who would be a great villain were it not for the behemoth that is Sil. His sly, manipulative attitude is a wonderful contrast to the Governor's simple attitudes. I would argue that Martin does over-egg the plot a little with the later inclusion of Quillam, who comes across as little more than another element of peril for the Doctor and his friends. Sure, Nicholas Chargrin is a good actor for the part, but he just comes across as a little bland in comparison to the other, more fleshed out villains. The other two notable parts are Arak (played by Stephen Yardley) and Etta (played by Sheila Reid), who are just an ordinary couple watching the events like the audience at home. Including these two is a great idea, as they provide an interesting commentary on the events, just like the audience is. It's a nice, meta idea, and it also helps to flesh out this world, as we don't just see the upper echelons of the society, but also the workers who's lives are being affected by the discussions between the Doctor, the Governor, the Chief Officer and Sil. The rest of the cast fill out their roles ok, but I would argue that Jondar and Areta are two of the wettest rebels ever to have appeared in Doctor Who. It's a shame as well, as Jason Connery is pretty good. It's just a shame the parts are so lacking.
This is also one of those rare instances during this era of the show where the production actually matches the ambition of the story. It doesn't feel like there is one area that lets down the story, from the direction, to the sets, to the make up and costumes. The whole story is masterfully overseen by Ron Jones, who started out with a pretty lukewarm directing style (just look at Time-Flight to see what I mean). By the time Vengeance On Varos comes around, however, he really has a much more interesting style, something which probably just comes with experience, both practical and of Doctor Who. I love the way he keeps the story moving forward, and some of his camera work, particularly in relation to the cuts between the action in the Punishment Dome and then seeing the action on Arak and Etta's screen is superbly well executed. He also isn't afraid to let the actors sell the scene too, so we get the best of both worlds really. The set design is quite inventive too: especially considering how, on the surface, it does all look like the same corridor. And that's the point: it's designed to look like the Dome is twisting in upon itself, confusing and disorientating those inside. Jones' direction also helps here with the effect, and even the lighting has been turned down, to give the sets depth and intrigue. Sadly, some of the more brightly lit ones (namely the acid bath and the execution area) are a little over lit, and do look a little cheap, but you can get away with it on a poor planet. They're hardly going to be the most well-made, well-crafted buildings and rooms, are they? It's basically a prison planet. The oversaturation of the light in those scenes though does slightly break the suspension of disbelief, however. The effects work in the story is also pretty good, mostly because it's kept to a minimum, and the story isn't dependent on it. Sil's prosthetics are a particular highlight, so it's even more surprising that they get even better for his second appearance. Finally, Jonathan Gibbs' score is a standout piece of work: a vast improvement on his first work for the series in Warriors Of The Deep. He keeps the tension up, while not being afraid to try different things and be experimental with the sequences inside the Punishment Dome. While not quite as impressive as some of the other names from the period like Peter Howell or Roger Limb, Gibbs' work does improve with each story he scores, and his work here is very accomplished.
Overall, Vengeance On Varos is a little bit of a hidden rarity amongst an era of the show that isn't exactly loved. It's biting satire, it's well-developed characters and excellent looking production all combine to create an enjoyable bit of television and a pretty good slice of Doctor Who. It's not perfect; there are issues with pace and some characters feeling a little underdeveloped, but it's got many more positives than negatives. And, in this era of the show's history, that's something to champion.
Written by Philip Martin.
Directed by Ron Jones.
The TARDIS is adrift. Deprived of a vital power source, the Doctor and Peri have one last hope - the planet Varos. But Varos is a dangerous place. Trapped in the dreaded Punishment Dome, the Doctor and Peri must fight for their lives - and save the starving population for the machinations of the villainous, reptilian Sil...
Season 22 is a season now infamous in Doctor Who history for its high dependency on violence and continuity to fuel its stories. It's also regarded as a bit of a low-point in the show's history, for precisely these reasons. And Vengeance On Varos certainly has one of these traits in abundance, while the other is virtually absent. It's as violent as any other story in season 22, possibly more so than others in some regards, but, unlike a lot of the macho-posturing elsewhere in the season, this has a reason for it. And, while it's by no means perfect, (there are a couple of substantial plotting and pacing problems) Vengeance On Varos is easily one of the better Sixth Doctor stories thanks to its clever ideas, interesting characters and a production that manages to actually realise the ambition of the script.
The ideas that writer Philip Martin brews up are positively potent: in need of a mineral to power the TARDIS (a mystical time ship created by a race of demi-gods needing a special rock is a bit of a strange idea, I'll grant you), the Doctor and Peri arrive on the planet Varos, which is a former penal planet turned Earth colony, where the inhabitants are still treated as little more than convicts, while those in power enjoy luxury and wealth. It's basically Thatcher's Britain, transposed into Doctor Who, with the addition of 'reality shows', designed to keep the population pacified and unwilling to rebel. If anything, this is a rare instance of a Doctor Who story ahead of it's time: it seems to be critiquing modern society more than the society of 1985, and with the looming uncertainty of Brexit, its material could become even more relevant. The social commentary is the key aspect here: like Invasion Of The Dinosaurs or The Happiness Patrol, there's no real big sci-fi threat. The story is more about building a believable society and exploring the injustices and inequalities with in it. The Doctor and Peri barely appear for the first 25 minutes or so, limited to scenes inside the TARDIS bickering. I can't deny that keeping the Doctor out of the action for so long was possibly a mistake. This was an issue probably hindered by the change in format for this new season of Doctor Who. The change from 25 to 45 minute episodes and the problems that were faced by the writers and script editor Eric Saward are well documented, and Vengeance On Varos definitely suffers from them. The pace of the story is fairly glacial: I wouldn't say that Vengeance is ever boring, but there's a lot of material in here that I have to call padding. I don't necessarily think this is the 'fault' of anyone; just an inexperienced Who writer being forced to try and adapt to a new, relatively untested formula. I'd also argue that, at times, the story seems to go round in circles for it's own good. Martin has created the amazing concept of the Punishment Dome, yet seems perfectly content to ignore that, and instead have the Doctor and his allies captured and put to death about three times. Sure, we do get some interesting traps when in the Dome, but some of them are a little obvious, even for a show as unsubtle as Doctor Who can be at times (yes, I'm looking at you, Green Light Monster). While these elements do stunt the story slightly, I can't deny that it's still a great story, mostly because it's one of those Who stories that manage to create a whole, believable society. The world of Varos is expertly realised, not just dashed off because we need a setting for our plot. The lack of believable settings is a real problem of the Colin Baker years; out of the non-Earth based stories, I can only really think of Varos, Necros from Revelation Of The Daleks and Thoros Beta from The Trial Of A Time Lord (and maybe Ravalox from the same story, if we're bending the rules slightly). Martin constructs a believable world, which he fills with potent political commentary. And the idea of the Punishment Dome is a great one: a series of torturous traps and psychologically disturbing experiences designed to induce as much pain as possible. This has meant that the serial has come in for some intense criticism regarding its use of violence. Now, while I would agree that maybe less is more, I would say that if you are critiquing the violence, then you are missing the point of the story. Not only is it an attempt to try and depict the violence in the Doctor's adventures as realistic, but it's a critique on the 'video nasty' culture that was running rampant throughout the 1980's, and lead to the extension of the BBFC and the video classification system. Because of this, the story, quite naturally, has to be more violent than usual, otherwise it would look half hearted. I don't think it ever oversteps the line, and occasionally the boundaries do need to be tested, and this is an example where it can be done, without making the show look like it's turned into a 15-rated action thriller (I'm looking at you, Attack Of The Cybermen).
Where Martin has clearly focused his attention is upon his characters. He does a wonderful job at fleshing out each one, and making them seem like they have lives beyond what we see on screen. His most impressive creation is certainly the Governor, the 'head' of Varos, who is simply a puppet for the characters of the Chief Officer, Quillam and Sil. I love the idea of a planet where the ruler has to run his or her every decision by the people, and if they don't like it, they can vote for him to be obliterated. If we adopted a system like that in Britain, we'd get through Governors like there was no tomorrow, especially at the moment. Despite the fact that his position marks him out to be a weak man, Martin allows him to be a person of strong morals, who wants to do the right thing, but is simply unable to do so because of the system. In a way, the Governor is as much a slave of the system as the downtrodden peoples of Varos, for he most constantly try and appease them with quick fixes, despite the fact that the solutions to the problems facing Varos are incredibly complex. It's hard not to feel sorry for the Governor, and that's helped by a sympathetic performance from Martin Jarvis in the role, who gives the best of three appearances in the show here. He instantly gets that the character of the Governor is meant to be sympathetic, despite some of his attitudes, and he gives a measured, potent performance. Seriously, if you want a master class in Doctor Who guest star acting, then look no further. If it wasn't for who he was playing opposite, Jarvis would, without doubt, be the main talking point of this story. But, because of his memorable appearance and a superb bit of casting, that honour rests with Sil, the story's principle villain. I love Sil: he has a wonderfully interesting motive (well, at least for Doctor Who), and his design is very unique for the programme of this period. A villain who is motivated by pure greed for money makes for a very different type of villain to the normal 'conquerors of the universe' that populate the average Doctor Who tale. Contrast Sil with, say, the Borad or even Davros or the Master, and you see that he is something different. More along the lines of Skagra, Scaroth or the Fomasi, Sil is motivated by nothing more than filthy lucre, and it's a refreshing change. He also has been designed wonderfully by the production team, especially considering some of the work that had been put together in the previous story. While Sil is a fantastically written character, there's no doubt that a lot of the reason why he is such a success is down to Nabil Shaban, who takes the material and runs with it. His gargling laugh is absolutely terrifying, and is totally right for the kind of character he is. Everything about him seems totally perfect and suited for the role. He's also great at playing the subtly of the character too: the little moments of quiet are superbly played by Shaban, and they actually come across as quite menacing. Out of everything that came out of the Sixth Doctor's era, Sil, together with the Rani, is probably one of the greatest, most original, creations. The rest of the characters are also interesting as well. Forbes Collins is wonderful as the vile Chief Officer, who would be a great villain were it not for the behemoth that is Sil. His sly, manipulative attitude is a wonderful contrast to the Governor's simple attitudes. I would argue that Martin does over-egg the plot a little with the later inclusion of Quillam, who comes across as little more than another element of peril for the Doctor and his friends. Sure, Nicholas Chargrin is a good actor for the part, but he just comes across as a little bland in comparison to the other, more fleshed out villains. The other two notable parts are Arak (played by Stephen Yardley) and Etta (played by Sheila Reid), who are just an ordinary couple watching the events like the audience at home. Including these two is a great idea, as they provide an interesting commentary on the events, just like the audience is. It's a nice, meta idea, and it also helps to flesh out this world, as we don't just see the upper echelons of the society, but also the workers who's lives are being affected by the discussions between the Doctor, the Governor, the Chief Officer and Sil. The rest of the cast fill out their roles ok, but I would argue that Jondar and Areta are two of the wettest rebels ever to have appeared in Doctor Who. It's a shame as well, as Jason Connery is pretty good. It's just a shame the parts are so lacking.
This is also one of those rare instances during this era of the show where the production actually matches the ambition of the story. It doesn't feel like there is one area that lets down the story, from the direction, to the sets, to the make up and costumes. The whole story is masterfully overseen by Ron Jones, who started out with a pretty lukewarm directing style (just look at Time-Flight to see what I mean). By the time Vengeance On Varos comes around, however, he really has a much more interesting style, something which probably just comes with experience, both practical and of Doctor Who. I love the way he keeps the story moving forward, and some of his camera work, particularly in relation to the cuts between the action in the Punishment Dome and then seeing the action on Arak and Etta's screen is superbly well executed. He also isn't afraid to let the actors sell the scene too, so we get the best of both worlds really. The set design is quite inventive too: especially considering how, on the surface, it does all look like the same corridor. And that's the point: it's designed to look like the Dome is twisting in upon itself, confusing and disorientating those inside. Jones' direction also helps here with the effect, and even the lighting has been turned down, to give the sets depth and intrigue. Sadly, some of the more brightly lit ones (namely the acid bath and the execution area) are a little over lit, and do look a little cheap, but you can get away with it on a poor planet. They're hardly going to be the most well-made, well-crafted buildings and rooms, are they? It's basically a prison planet. The oversaturation of the light in those scenes though does slightly break the suspension of disbelief, however. The effects work in the story is also pretty good, mostly because it's kept to a minimum, and the story isn't dependent on it. Sil's prosthetics are a particular highlight, so it's even more surprising that they get even better for his second appearance. Finally, Jonathan Gibbs' score is a standout piece of work: a vast improvement on his first work for the series in Warriors Of The Deep. He keeps the tension up, while not being afraid to try different things and be experimental with the sequences inside the Punishment Dome. While not quite as impressive as some of the other names from the period like Peter Howell or Roger Limb, Gibbs' work does improve with each story he scores, and his work here is very accomplished.
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