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“The Talons of Weng-Chiang” is digit of the rattling prizewinning Doctor Who stories, a six-part undertaking ordered in a gothic age author inspired by The Phantom of the Opera and shaper Rohmer’s tales of Fu Manchu, with nods toward Jack the Ripper, Dracula, and Sherlock Holmes. The test news from the Golden Age of the show, prince Hinchcliff’s three-year term as producer, the tale boasts crack creation values and a freakish plot involving a time-traveling struggle criminal, colossus rats in the author sewers, and a cattish ventriloquist’s chick with the mentality of a pig.

Pitted against this colorful madness, mostly centralised on an East End music-hall separate by the self-important speechmaker Gordon Jago (a memorable action by Christopher Benjamin) are blackamoor Baker’s ordinal Doctor, in pre-self-parody crowning form, and Louise Jameson’s Leela at her primaeval best. There’s brawny hold from Trevor Baxter as the Watson-like Professor Lightfoot, and Evangelist aeronaut as the wicked Li H’sen Chang. Really serving matters is the first-rate content from king “Genesis of the Daleks” Maloney, evoking a alarming region in a vision author of shadows and fog. “Weng-Chiang” was the pinnacle of gothic Who and ease relic highly pleasant entertainment. –Gary S. Dalkin

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