It’s a living history.
Of all the many changes producer John Nathan-Turner brought to Doctor Who, the regular appearance of the two-episode story structure stands as one of the most successful. Forced by necessity to strip down the story to its basics, the writers for the two-part tales have consistently turned in taut, if not always coherent, narratives, and Eric Pringle’s “The Awakening” (Story Production Code 6M) stands as no exception. From the very start of the story, with a contemporary figure being menaced by Cavaliers on horseback, Pringle plays with the notions of temporal fluidity that are at the heart of Doctor Who—if the Time Lords can travel through time, so can other beings and forces, a plot device used frequently in the early days of the series but seldom evoked by the time Peter Davison dons the Fifth Doctor’s mantle.
The local magistrate, Sir George Hutchinson (Denis Lill) explains to the flustered schoolteacher, Jane Hampden (Polly James), that he and his fellows are merely re-enacting the events of the English Civil War, and that it’s all simply a bit of fun that the entire village has decided to participate in, except for her. Once they have simulated the final epic battle fought in village of Little Hodcombe between the Cavaliers and the Roundheads in 1643, all will go back to normal. It’s an interesting twist, as the viewer has been conditioned by the very nature of Doctor Who to accept, and indeed expect, the very real possibility that the figures had somehow appeared in 1984 from out of the past.
By virtue of lovely narrative happenstance, Tegan’s grandfather, the historian Andrew Verney (Frederick Hall), lives in Little Hodcombe, and the Fifth Doctor brings the TARDIS to town for a visit at the very same time as Sir George’s men are rounding up Roundhead stragglers. But instead of materializing normally, an unexpected energy field forces the blue box into the crumbling crypt of the long-abandoned local church. While heading to the village, the Doctor, Tegan, and Turlough find themselves waylaid by the wanna-be Cavaliers, who forcibly escort them to Hutchinson. The magistrate’s demeanor turns from conciliatory to vindictive once Tegan mentions her grandfather, with Sir George ordering them to be held under guard.
Jane Hampden, along with the viewer, realizes not all is quite as it seems; the participants in the wargames, with the exception of Ben Wolsey (Glyn Houston), take proceedings with an earnestness that borders on the maniacal, treating the fighting as real. Once our time travellers inevitably escape, they split up, the better for Tegan and Turlough to get caught before the end of the first episode. The Doctor, having returned to the church, finds himself buffeted by phantom sounds of combat, then sees a roughly-clothed young man tear through a weak brick wall. Named Will Chandler (Keith Jayne), the lad is trying to escape the battle raging outside the church—in 1643. Some further narrow escapes, this time with Jane, now also on the run from Sir George, sees the three confronted, in proper end-of-episode fashion, by the source of all this confusion, the giant face of the Malus…