Running Time: Approx. 49 minutes. Written by: Lisa McMullin. Directed by: Steven Kavuma. Produced by: Noga Flaishon.
THE PLOT:
Christmas, 1883. Eleanor of Aquitaine (Debra Baker) has been recalled from her imprisonment for participating in a revolt against her husband, King Henry II (Kevin Mathurin). In this fateful family gathering, Henry will decide whether his successor will be Prince Richard, his eldest surviving son who also rebelled against him, or weaselly younger son John.
But there are unexpected visitors: the Doctor; Yaz; and a third, impossible guest who claims to be the long-dead Prince Phillip (Ammar Duffus). The instant Phillip gains entry, everything is transformed. Eleanor and Henry go from denying his existence to behaving as if he had always been there, even as their banquet rots on the table and the trees die outside.
Something has gone horribly wrong, prompting the Doctor, Yaz, and the royal couple's ward, Alys (Dolly Webb) to take a trip to the past to trace the source...
CHARACTERS:
The Doctor: She is surprised when Eleanor recognizes both her and Yaz, but she quickly realizes that this means that they will meet in her own future and is sensible enough to play along. When Yaz recognizes Princes Richard and John - not so much from history as from Robin Hood - the Doctor is quick to hush her. She empathizes with the royal couple over their grief for the children they lost (a character beat that I wish the story did much more with), but she knows she can't allow this "wrong" Prince Phillip to remain.
Yaz: After two very strong audio stories, this becomes the first Big Finish script to reduce Yaz to "generic companion" status. One problem, in contrast to the previous two releases, is a lack of contrast between her and the Doctor. Yaz is extremely quippy in this story, while the Doctor is also breezy and energetic. One of them needs to be more serious to offset the other. As it stands, there are scenes in which it seemed lines are divided up just to keep the Doctor from being the only person speaking.
Alys: Eleanor and Henry fall completely under the spell of "Prince Phillip," whom Alys recognizes as her imaginary friend from childhood. When she informs the Doctor that she remembered seeing him in a mirror in the castle nursery, she ends up being taken back in time to show them. Refreshingly, Alys is so overwhelmed by the TARDIS that she becomes insensible, though it doesn't take her long to start enjoying the impossibilities.
THOUGHTS:
Lionesses in Winter has all the ingredients for a classic: an interesting historical period, an isolated setting, an emphasis on relatable human emotion, and an entertaining sci-fi concept with the mirror dimension. On paper, this should be one of my favorites, and it was probably the release I was most looking forward to.
Which makes it all the more disappointing that it ends up being the first entry in this range that I haven't enjoyed.
To start with the positive, the story opens well. The teaser introduces Henry and Elinor, establishing their bitter relationship for anyone who isn't familiar with either the history or James Goldman's The Lion in Winter. Actors Kevin Mathurin and Debra Baker make a meal of the couple's verbal ripostes. Then the Doctor appears mid-argument, sitting impishly on Henry's throne (in my mind, I imagine her giving a friendly wave as they notice her), setting the stage for the gathering to be transformed into chaos.
The first half is generally engaging, with writer Lisa McMullin efficiently establishing the many losses and tensions that have defined Eleanor's and Henry's marriage. I suspect those unfamiliar with the history might get lost in the rapid-fire introductions. However, a combination of witty dialogue with hints of tragedy keep it ticking along nicely.
It starts to go wrong for me in the second half. McMullin's story wants to explore grief and loss. There's an excellent scene in which Eleanor visits her dead son's nursery and muses about how he would be growing up had he not died at age 2. But plot mechanics and an overly rapid pace keep burying the emotion.
One second, Eleanor is consumed by grief... but before we get a chance to really feel that, we're suddenly back in the TARDIS as the Doctor and Yaz dart forward to trace some Technobabble. Then the climax becomes at least as concerned with establishing arc character, "The Tourist," as with bringing together all the components of this narrative. As a result, what should have been a haunting examination of loss ends up coming across as hollow.
OVERALL:
The Lionesses in Winter is technically well executed. Performances are good, production values are strong, and there are fine individual scenes. It also fairly whips along...
Except I think that last becomes part of my problem with it. Forcing these themes into a zippy "New Series" template hurts the larger whole. This story cries out to be slower and more meditative. Instead, it gallops along, too fast and too light. The result isn't disastrous by any means... but it is disappointing.
Overall Rating: 4/10.
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