A brilliant blend of campy fun and heartfelt emotion, I really appreciated how this toys with the narration of the story and blurs the lines between the pirate tale and the framing story, with Sally joining in singing even up to the very end of the audio. It's also just got a really cozy atmosphere, it's essentially three people in a room telling a story to try and cheer each other up after hard times and thats just the purest form of storytelling.
And of course there's the songs which can be a little rough but still just a joy to listen to, we need more musicals in Who!

The pirate narrative is very simple and full of cliches, caricatures and convenience but it's largely a vehicle for the humour and is justified by its framing as an inaccurate account. The heart of the story lies in the scenes interspersed throughout (and occasionally seeping into) the pirate story, with Evelyn and the Doctor telling their tall tale to the frustrated and grieving Sally. This context adds depth to the simplistic story as we begin to unravel why certain elements are being skipped, why some characters are being flattened or transformed into comic relief.

I think my only criticism is that the sound design in the first part felt lacking, it was hard to get a real sense of atmosphere when the soundscape was so sparse which is odd because a ship at sea could provide a lot to work with in that regard. Creaks and waves and the wind buffeting the sails etc. I could see an argument that this lack of cohesion is part of the intended listening experience as Evelyn is struggling to recount the story, but if anything that just compounds the problem. Though this is not an issue for long and quickly after I was sucked in and once I was I thoroughly enjoyed myself.

If you (like me) hear the premise: 'Doctor Who does a theatrical (partially musical) pirate adventure' and think it sounds way up your alley, then you won't be disappointed.

This is both a delightfully silly story and a powerfully emotional one which is exactly where I like to see Doctor Who play!

The Monthly Adventures #043 - “Doctor Who and the Pirates" by Jacqueline Raynor

It’s always hard when you run into a popular story you just can’t get it into. No point in avoiding what will be the main talking point of this review, I don’t like Doctor Who and the Pirates. I think it is some novel concepts that forgot the basic tenets of scriptwriting and, as a result, came out lacklustre. It’s not a story I’m particularly fond of and not one I have a large amount to say on, it simply is a story that is not for me, one that was created with a different target demographic in mind that I just can’t seem to connect with. A swashbuckling adventure with an intrusive sense of humour and an annoyingly eccentric style.

Who doesn’t love a good story about pirates? Evelyn thinks the answer to be no-one, so when she takes it upon herself to cheer up one of her students, she tells the story of the time she and the Doctor were taken prisoner by fearsome pirate king Red Jasper.

(CONTAINS SPOILERS)

When looking at an episode that seems to fit normally into positive public perception and giving it a low score, one first must consider its positives and why it is so beloved. I think the main reason for Doctor Who and the Pirates’ success are elements that simply do not appeal to me but I can take part in admiring a few of its factors. At its heart, it is a story based on the gimmick of it being told by the Doctor and Evelyn, and not in the Companion Chronicles way of every companion having script level accuracy storytelling but in the way that they keep misremembering things or skipping over boring bits or making it more exciting for whomever it is they’re talking to. This gimmick is done really well, I have to say, and the ways it’s implemented are all pretty fun, from Evelyn not being able to think of enough names for the characters to giving Red Jasper countless anachronisms to shy away from his actual cutthroat nature. It’s a good idea done with a great amount of creativity that could only really, truly work on audio. As for the rest of the story, I think it pretty much fails on all fronts but one. When Raynor dials in the campiness and the pantomime-esque shenanigans, she can deliver some really solid scriptwriting. For one, Evelyn has some really great character development here, with the whole framing device of her trying to soothe a grieving student, whilst dealing with her own guilt over a character in the story’s death. It’s a great little setup through which we see more of her than we have before and really get a glimpse into the things that’ll make her one of the greatest companions in Doctor Who, at least in my opinion. In fact, every single plot beat that is separate from this story’s wall of noise is leagues greater than the rest of the narrative, and the tone probably should’ve been somewhat closer to that.

But, alas, it was not. I’m not denying that Doctor Who and the Pirates is a story with a lot of merits, I’m just saying that I don’t like it personally. I think this might be the first score I’ve given that’s based mostly on my own personal feelings rather than what I consider outright criticism, even the best bits (like the surprisingly solid musical Part 3) were just part of a story that doesn’t appeal to my personal tastes, and that’s fine, you don’t have to objective on everything. But do I think Doctor Who and the Pirates is a perfect story that I’m just baselessly against? No. No, absolutely not. I find that Doctor Who and the Pirates is a story that had a great idea, spent all its energy on realising that idea, and then forgot to write a compelling story around it. A gimmick is fun and all, but a story should take precedence in any work of fiction, which it doesn’t here. The story is basic and derivative: a nasty pirate wants to find a mystical treasure, throw in a bunch of one-dimensional, faceless characters and you’re done. The villains are tricked easily and the plot is moved forward by fantasies, it’s not very interesting and is paced poorly. And then there’s the cadence of it all. I guess it’s based on old Gilbert and Sullivan musicals so I don’t know if it’s reflective of them but the whole thing feels so ridiculous, like a really bad pantomime. Again, this might be a matter of taste but little to none of the humour landed for me and all the characters felt more like caricatures.

I’m not sure how many more ways to say “this wasn’t for me” there are, so I’ll stop this review here. Doctor Who and the Pirates is a fun audio with some good ideas, but I just can’t bring myself to like it. It’s a cacophony of loud voice acting and musical numbers that can never seem to stick the landing, no matter how hard it tries. I think it probably is a good story, or at least a passable one, but I wouldn’t know.

5/10

Pros:

+ Has good ideas and uses them well, in increasingly creative and unique ways

+ Some really nice character growth for Evelyn

+ Portrays emotional beats with a surprising amount of tact

Cons:

- A really simplistic and dull story with little forward momentum

- Has practically no good characters besides our regulars

- Irritatingly hyper and quirky

- On a personal level, does not work for me

Thworping through time and space, one adventure at a time! 

"Doctor Who and the Pirates: A Swashbuckling Singalong with Surprising Depth"

“Pirates make everything better,” Evelyn declares, and Doctor Who and the Pirates proves her right in spades. Jacqueline Rayner delivers a hilarious and inventive romp that not only embraces classic pirate tropes but elevates them with sharp humour, musical brilliance, and an emotionally resonant undercurrent.

The story is cleverly framed by Evelyn narrating the adventure to one of her students. This device, reminiscent of The Princess Bride, allows for a playful deconstruction of the narrative as the student questions Evelyn's embellishments and forces her to revise on the fly. It’s a wonderfully meta touch that adds layers of charm and hilarity to the experience.

A Script That Shines

Rayner’s knack for blending historical settings with a comedic twist, first showcased in The Marian Conspiracy, is on full display here. The script overflows with witty dialogue, clever wordplay, and larger-than-life characters. Every joke lands, and the swashbuckling adventure brims with rum barrels, treasure maps, and all the piratical tropes you could hope for.

The pirates themselves are delightful caricatures, led by the uproariously funny Red Jasper, played with scene-stealing gusto by Bill Oddie. Nicholas Pegg also shines as a hilariously inept sea captain, adding to the rollicking chaos.

Musical Brilliance

What sets Doctor Who and the Pirates apart is its audacious leap into full-blown musical territory. Part 3 transitions into a genuine musical extravaganza, complete with original songs that rival the best in Doctor Who’s history. Colin Baker’s rendition of “I Am the Very Model of a Gallifreyan Buccaneer” is a standout—both impressively performed and laugh-out-loud funny.

The songs are diverse and expertly crafted, with Helen Goldwyn delivering especially strong vocals. “I'm a Better Sailor Far Than You” is a particular highlight, blending humour and melody seamlessly. The musical elements elevate the story to a level of pure joy and creativity rarely seen in the franchise.

A Twist of Emotion

Amid the laughs and catchy tunes, Doctor Who and the Pirates takes a surprising turn in Part 3, revealing a tragic twist involving Sally, Evelyn’s student. This moment arrives as a gut-punch, grounding the story in a poignant reality that contrasts starkly with the comedic chaos. It’s a masterstroke of tonal balance, giving the adventure an emotional weight that lingers long after the final song.

Performances that Sparkle

Colin Baker and Maggie Stables are in top form. Baker effortlessly switches between comedic flamboyance and the gravitas required for the story’s darker moments, while Stables anchors the narrative with her warmth and sharp wit. Her chemistry with Baker is as delightful as ever, and she carries much of the story with grace and charm.

The supporting cast is equally strong. Bill Oddie’s Red Jasper is a riot, and Nicholas Pegg brings impeccable comic timing to his role. The ensemble’s commitment to the musical numbers is especially commendable, adding to the story’s infectious energy.

A Satisfying Finale

The final part ties together the pirate adventure and the framing device in a satisfying and heartfelt conclusion. The treasure hunt provides a rousing end to the swashbuckling antics, while Evelyn’s interactions with Sally give the story a poignant resolution.

The Verdict: A Pirate Classic

Doctor Who and the Pirates is a triumph of inventive storytelling, blending humour, music, and heartfelt drama into an unforgettable adventure. Jacqueline Rayner’s script is razor-sharp, the performances are stellar, and the musical numbers are a delight.

Whether you’re a fan of pirates, musicals, or just great Doctor Who, this story is a treasure worth discovering.

📝90/100

Doctor Who is the series that can do anything.  It’s format is limitless.  That said, on television at least, the basic rules of dramatic narrative tend to be followed.  Only on a few occasions has this been tampered with, an example being Love & Monsters.  On audio and away from the confines of delivering a series not just for fans but also for the ‘casual viewer’, Big Finish have had more freedom to experiment with the manner in which their stories are told.  I’ve found these releases to be of varying success.  I couldn’t abide The Natural History Fear and wasn’t a great fan of Live 34 or Creatures of Beauty.  On the flipside (if you’ll excuse the pun) I love Flip Flop and adore Doctor Who and the Pirates which, looking at the release schedule, was actually the first time they really tried something different in the main range.

Doctor Who and the Pirates is, famously, the musical one.  It’s become a bit of a thing for television series to do a ‘musical episode’ ever since Buffy the Vampire Slayer led the way with the brilliant Once More With Feeling.  I’m a bit of a fan of musicals, although not so much of Gilbert and Sullivan, but the idea of Doctor Who finally dipping it’s toe into these waters filled me with joy.  Of course, Big Finish did bottle it slightly in that only the third episode is musical, but the entire release plays with the nature of story telling and narrative as Evelyn, and subsequently the Doctor, attempt to prevent a death by telling the story of a tragic adventure they had just experienced.

Much of the first episode is an Evelyn showcase.  She barrels into Sally’s room and begins her story without so much as a by your leave to Sally.  Little hints here and there allow the listener to realise that all is not well with either Evelyn or Sally and this is countered by the hilarity resulting from Evelyn’s initially incredibly clichéd tale of pirates and treasure.  Maggie Stables is wonderful and once the Doctor turns up, Colin Baker provides admirable support.  And I mean that term quite specifically.  It does feel through much of this story that the Doctor is the ‘companion’ to Evelyn.  This is a story about Evelyn dealing with the death of Jem and the potential suicide of Sally.  The Doctor is there to provide moral support.

The pirate part of the story is, as I have said, very clichéd but this is entirely the point.  Evelyn is trying to tell a happy, funny story about one of her adventures with the Doctor whilst trying to avoid the tragic end.  Her pirates all have the same voice and have names like John Johnson, Bill Billson, David Copperfield and Oliver Twist.  There are terrible inconsistencies in her tale; one moment the boat is sinking, the next it isn’t.  Red Jaspar, the villain of the piece, begins the story as a comical, over the top baddie.  Bill Oddie goes to town chewing virtual scenery left, right and centre.  But as the story progresses the performance subtly changes to one of murderous insanity.  The Doctor and Evelyn point out time and again that he is insane and although Oddie’s performance never quite makes it down from the rafters there is a narrative reason for this.  His ruthlessness at dealing with the other pirates is horrendous especially when he cuts out the tongue of one for disagreeing with him.The other part of the tale, Sally, is equally affecting.  Helen Goldwyn is excellent.  Trying to be nice to Dr Smythe but really wanting her to go away and allow her to deal with the death of her boyfriend which she feels responsible for.  I do think she accepts what Evelyn and the Doctor are saying a little too easily but maybe this is due to the fact that she is distracted by her own tragedy and isn’t really thinking too hard about what they are saying to her.

So what of the musical episode?  As I’ve said, I am not a massive fan of Gilbert and Sullivan although I love musicals, particularly stage ones, with all my heart.  That said, one of my first musical experiences was a video of a very strange cartoon drawn by Gerald Scarfe called Dick Deadeye which was a bizarre mash up of lots of different Gilbert and Sullivan characters and songs.  My brother received it for Christmas one year in his stocking (I got some sciency video about slowed down camera trickery of drops of water splashing and the like).  Needless to say, my brother cast it aside fairly quickly but I watched it on countless occasions.  One of the reasons might have been the climax of the story which featured all the characters pitching up on a desert island to be greeted by its Amazonian natives, complete with bare breasts!  This was a PG certificate video!  Anyway, as a result, the songs have long been part of my psyche.  This means that Doctor Who and the Pirates has the advantage of triggering a fond nostalgia when I listen to its own versions of familiar songs.  The singing is very good, particularly Helen Goldwyn, and the songs are witty and arranged well.  Quite whether the conceit of turning the story into a musical to provide a happy ending works narratively I’m not entirely sure but as an excuse for a bit of fun (and one beautiful song from Sally) I think it can be forgiven.

Historically, this story probably owes more, as Sally points out, to the 19th century clichés of pirates such as Long John Silver and, obviously, the Pirates of Penzance.  This is a story which is set in the 1700s but is presented far more in the style of the 1800s.  It is interesting that Evelyn states this is ‘not her period’ which allows her to use all manner of pirate clichés but when she doesn’t even know that the ‘flat end’ of the boat is called the stern I did raise my eyebrows slightly.  She is a lecturer in the Tudor period when there was a lot of exploration in ships going on so surely she would know something as basic as that about boats.The only historical reference made is to Queen Anne dating this story to sometime between 1702 and 1714.  Lance Parkin has gone for a date of around 1705 but doesn’t really give any other explanation in Ahistory as to why (although he does state there is no other dating evidence aside from being set in the 1700s which seems to ignore the reference made to Queen Anne).

Doctor Who and the Pirates will probably always be one of my favourite Big Finish audios but, like all good things, too much of this style would probably begin to grate.  I will always admire Big Finish for being willing to push the boundaries of what Doctor Who is; something I think many fans find difficult in their rigid set views as to what the series should be; and I really hope that a full on four episode musical eventually surfaces (The Ultimate Adventure adaptation notwithstanding) because I think it could be wonderful.  It could easily feature, in the tradition of Charley Pollard, the 6th Doctor picking up Lucie Miller (Sheridan Smith is a brilliant musical actress) and finding themselves on a planet where everyone communicates in song, or the TARDIS translation unit goes on the blink or something…

This is without a doubt a "must listen" part 2 has the best cliffhanger I've heard out of any of these early stories. The fact they made all of part 3 a musical - something which is not reflected anywhere else in the story is truly ballsy. The chemistry between Evelyn and The 6th Doctor continues to impress and is totally unlike any other companion/ Doctor dynamic. Evelyn as the unreliable narrator is particularly amusing.

Having said all this its got a very thin plot and is deliberately cliched in many ways, so while I say its a "must listen" I wouldn't go as far as to say its one of my favourites. Its a classic though.