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“BIRTHRIGHT: INSECTS, CULTS AND COLIN BAKER IN A FAUX RUSSIAN ACCENT”

Birthright marks the middle chapter of Big Finish’s Time Ring Trilogy, a bold adaptation of the Virgin New Adventures novel by Nigel Robinson. Originally a Seventh Doctor story with Ace and Benny, this audio version cleverly swaps Ace for Jason Kane, since Big Finish hadn’t secured the Doctor Who licence yet. As a result, the story stands apart from its origins while still carrying the distinctive hallmarks of the New Adventures: big ideas, darker tones, and layered storytelling.

Picking up right after Walking to Babylon, the time paths are shattered, and Benny and Jason are stranded across different times and places. Benny finds herself in grimy 1909 London, while Jason ends up on a dead, alien world under the watchful gaze of a demanding insectoid queen. Both must survive separately, with the ticking time bomb of needing their Time Rings together to return home.

SPRINGHEELED JACK AND DEAD EARTH

The split storytelling is one of Birthright's strongest assets. Benny’s half is easily the more compelling, throwing her into a murky murder mystery in a vividly realised Edwardian London. Here, the murders are linked to the urban legend of Springheeled Jack – an inspired touch that initially teases a Jack the Ripper-style horror before leaning into more obscure English folklore.

The sound design does wonders here, painting the bustling, sooty London streets in atmospheric detail. Benny pairs up with the gruff but good-hearted Russian detective Mikhail Popov, whose secret weapon is none other than Colin Baker in glorious disguise. Baker’s performance is so different – thick accent and all – that it takes a keen ear (or a glance at the credits) to spot him. It’s a masterclass in range from the Sixth Doctor himself.

Jason’s plot, meanwhile, struggles under the weight of slower pacing. His ordeal on the alien world feels repetitive: obey or be eaten. Still, some juicy twists land – notably, the revelation that the dead world is actually a future Earth, and that the Charrl (those aforementioned giant insects) have been harvesting humans for survival.

CHARLLS, CULTS, AND COLONISATION

The two timelines converge when Benny uncovers a cult in 1909 who worship the Charrl and plan to help them colonise early Earth in exchange for promises of utopia. It’s a classic sci-fi twist, evoking earlier Doctor Who tales like Invasion of the Dinosaurs with its misplaced faith in remaking humanity’s future.

Though the premise is familiar, it's engagingly executed, and there’s a genuine thrill as Benny pieces together the truth. The environmental message – that humans are ultimately doomed to ruin their own planet, no matter the timeline – gives the story an underlying melancholy bite.

However, while the setup is strong, the second half does lose some momentum. Long dialogue scenes, particularly between Benny and cult leader Jared Khan, slow things down considerably. The Charrl’s mantra of survival and rebirth becomes increasingly repetitive, and poor Mikhail is sadly sidelined for large chunks of the action.

VOICES IN THE DARK

Voice performances are mostly excellent. Lisa Bowerman and Stephen Fewell continue to excel as Benny and Jason, carrying much of the emotional weight. Jane Shakespeare’s Queen Ch’tizz, however, is a bit grating, and the early Big Finish alien voice filters don’t help matters. On the plus side, John Wadmore’s Jared Khan is deliciously sinister, while Jonathan Reason’s youthful Chief Inspector brings a refreshing touch of humanity to the London setting.

The comparison to Tractators is a clever mental image – it’s easy to picture the Charrl as similarly lumbering, creepy insectoids. The casual dehumanisation of Jason (“mammal!”) is a small but effective detail that adds texture to the alien threat, even if some of the more interesting philosophical angles, like dissent within the Charrl ranks, aren't fully explored.

CLOSING THE TIME PATH

As the story barrels towards its climax, Benny channels her inner Doctor, attempting to broker peace between humans and Charrl. It’s a noble effort that predictably falls apart when the police charge in guns blazing, resulting in bloodshed and the need to close the time path before the timeline collapses. It's a classic New Adventures ending – hopeful, tragic, and messy in equal measure.

The seamless transition into the trilogy’s final story is handled deftly, maintaining momentum even as Birthright wraps up its own narrative threads. The Time Ring device feels obviously lifted from its original Doctor Who context, but it still works well enough here, anchoring Benny and Jason’s desperate need to reunite.

📝VERDICT: 6.9/10

Birthright is a solid, atmospheric entry in the Time Ring Trilogy, bolstered by strong performances, rich worldbuilding, and a thoughtful (if familiar) plot. Benny’s murder mystery half is the standout, thanks in part to a delightful turn from Colin Baker as Detective Mikhail Popov. Jason’s side of the story drags somewhat, and the Charrl plot repeats itself more than it should, but overall this is a straightforward and engaging audio drama. It captures the spirit of the New Adventures while adapting itself neatly into Big Finish’s early landscape, and it sets the stage nicely for the trilogy’s conclusion.