The Sins of Captain John: The Restored

Writer: David Llewellyn
Director: Scott Handcock
Script Editor: James Goss
Cover Illustration: Lee Binding
Music & Sound Design:
Robert Harvey
Producer: James Goss

Starring James Marsters
Released January 2020

Kicking off a limited series following Captain John Hart on a number of assignments set before his appearances in the Torchwood TV series, The Restored is glorious fun. The tone is immediately different to anything else released by Big Finish Productions and grabs the opportunity to play things differently with both hands.

Arriving in 1661 to pick up a pair of resurrection gauntlets for a client, John quickly ingratiates himself with royalty, becoming familiar with King Charles II and particularly Frances, Duchess of Winchester. Only the gauntlets are stirring up trouble and many of the King's decapitated enemies have rejoined the land of the living. As far as 'machine following programming' stories go, this is a belter. David Llewellyn fills his - or rather, Captain John's - version of restoration-era England with colourful characters. The strongest are Frances and her maid Mohisha, brought to life with vigour by Laura Doddington and Serin Ibrahim. Whilst they fit into this heightened take on reality, their agency and wit make their scenes a pleasure.

I can barely remember Captain John from his appearances on TV, so this almost an entirely new character to me. I have similarly little prejudice with James Marsters, who plays him, but sadly he really fails to impress in this opening episode. With beat missed in nearly every line and a patronising air, it's hard to put much stock in Marsters' commitment to the part. That said, he saunters between scenes in a manner matching the bemusement of David Llewellyn's script and his sections of (unreliable?) narration are some of his strongest.

Praise must go too to the vivid soundscape, never dropping the ball. The score is a departure from the usual Torchwood house style, and while Robert Harvey's lethargic electric guitars aren't to my tastes, they fit the material. It's worth reflecting that commissioning an original soundtrack for each episode is not something Big Finish has to do, and it's a luxury that adds considerable value to their product.

Despite being released under the Torchwood banner, The Sins of Captain John seems to have little to do with its parent series, bar the appearance of John and (later) John Barrowman as Captain Jack. It's set in a period of time before either knows the word Torchwood, has nothing to do with the institution and is worlds apart tonally. It is more comparable to The Lives of Captain Jack than any Torchwood release. In common with the rest of Torchwood under James Goss' stewardship, however, it is a delight to listen to and I can already tell this series will be one to savour. Slipping into this detached, ridiculous world was a welcome escape and the hour duration flew past. I'm reluctant even to move on to the next episode, and have already given The Restored three listens.

The Restored is playful and wild. Scott Handcock spoils us with a cast list that primetime dramas would be envious of and skillfully brings the broad script to life, particularly cultivating the relationship between John and Mohisha. Across the board, this episode is stronger for what's not said. A joy; I look forward to the rest of the series.