First broadcast on BBC Radio 4 in July and August 1985, Slipback is a unique oddity in Doctor Who history. Written by Eric Saward, the show’s script editor at the time, and produced as a six-part audio serial during Doctor Who’s 18-month television hiatus, it marks the first official Doctor Who drama produced specifically for radio. Though it provides a rare opportunity to hear Colin Baker’s Sixth Doctor in an audio-exclusive adventure, Slipback struggles with tonal inconsistency, forced humor, and a storyline that never quite finds its footing.
Set aboard the starship Vipod Mor, the story follows the Doctor and Peri as they uncover a conspiracy involving a megalomaniacal ship’s computer, an unethical scientific experiment, and the planned destruction of an entire civilization. Along the way, they encounter bumbling security officers, an unstable AI, and a villainous scientist meddling with the fabric of time itself. The stakes are high, but the execution is uneven, veering between high-concept sci-fi and broad, almost slapstick comedy.
Colin Baker’s performance as the Doctor is, as expected, commanding and authoritative. However, without the visual element to support his presence, his grandiose delivery sometimes feels out of place. Nicola Bryant’s Peri, meanwhile, fares slightly better, with her exasperation at the Doctor’s antics translating well to the audio format. Unfortunately, the script gives them little meaningful character development, treating them more as passengers in a chaotic plot rather than active participants driving the story forward.
The supporting cast is largely forgettable, with caricatured performances that range from generic to grating. The ship’s computer, in particular, is an example of the script’s tonal misfire, shifting unpredictably between sinister omnipotence and petulant absurdity. There are hints of an interesting idea buried beneath the silliness—the notion of an AI becoming self-aware and acting against its programming—but Slipback never fully commits to exploring these themes in a serious way. Valentine Dyall, who had played the Black Guardian in the television series, takes the role of Slarn, but it's a largely a waste of his talents.
The limitations of the radio format require strong world-building through sound design and dialogue, but Slipback falls short in this regard. Unlike later Doctor Who audio dramas, which excel at creating immersive soundscapes, this production feels sparse and uninspired. The music and effects are minimal, giving the impression of a lower-budget effort that fails to take full advantage of the medium.
Tonally, Slipback is a strange beast. While some parts of the story attempt to emulate Doctor Who’s darker sci-fi roots, others lean heavily into farcical comedy, creating a jarring contrast. The humor often feels forced, with exaggerated performances and nonsensical dialogue disrupting any sense of tension or drama. Instead of blending genres effectively, Slipback ends up feeling disjointed, as though it cannot decide whether it wants to be a serious Doctor Who story or a parody of one.
Revisiting Slipback in 2025, it remains an interesting but ultimately misguided experiment. As the first Doctor Who story produced for radio, it holds historical significance, but it does not hold up as a compelling adventure. It is particularly striking when compared to later Doctor Who audio dramas from Big Finish Productions, which would go on to demonstrate how effective the format can be for telling deeper and more engaging stories.
In the context of its time, Slipback was an attempt to keep Doctor Who alive during its enforced break from television, providing fans with at least some form of new content. However, instead of proving that the show could thrive in a different medium, it served as an example of how important the visual elements of Doctor Who—its tone, atmosphere, and performances—are to its success.
Ultimately, Slipback is little more than a footnote in Doctor Who history: a curiosity rather than a classic. While its ambition is admirable, it is difficult to recommend as essential listening. However, for those fascinated by Doctor Who’s wilderness years and the efforts made to keep the show in public consciousness, it remains an intriguing relic of a turbulent time.
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