Doctor Who: Splinters (Tenth Doctor, Classic Companions)
by John Dorney (Big Finish, 2022)
Dorney captures the energy and insouciant veneer of the Tenth Doctor, albeit perhaps with a little too much verbiage (witty though this is). David Tennant and Louise Jameson forge an instant and convincing dynamic. The threat is disquieting but too easily overcome.
Doctor Who: The Mind Runners
by John Dorney (Big Finish, 2018)
Dorney engages in capable SF noir world-building while scripting lovely dialogue for Tom Baker and Louise Jameson (both of whom are in fine form). The story, however, is not self-contained, and its antagonists are in the usual advanced stages of expository megalomania.
Doctor Who: The Crowmarsh Experiment
by David Llewellyn (Big Finish, 2018)
Leela is attacked during one of her adventures with the Doctor, and wakes up in a research institute for implanted dream consciousness. Which of her realities is genuine? Perfectly pitched performances by Louise Jameson and Tom Baker. A nice idea cleverly executed.
Doctor Who: The Abandoned
by Nigel Fairs & Louise Jameson (Big Finish, 2014)
A superbly imaginative and dark concept, engendering a bottle episode that would have topped the TV ratings. The story, however, has too ambitious and disorientating a visual element for audio. The production lets the script down by not streamlining its cacophonous madness.
Doctor Who: The Lady of Obsidian
by Andrew Smith (Big Finish, 2017)
Leela’s return—pairing Louise Jameson with John Hurt—is a highlight of the Time War, both nostalgically and for the manner in which Andrew Smith brings her back. Unfortunately, there’s too much else going on. The story rattles helter-skelter around the moment.