The Shakespeare Code

Expectations were very high for this, the second episode of David Tennant's second season in "Doctor Who". THE SHAKESPEARE CODE was designed on every level as a showcase episode. Carte Blanche was given to the BBC to film in the actual Globe Theatre reproduction, giving the episode incredible depth and texture. The scenes shot there are simply some of the best the series has ever had to offer.?? Long time fans have longed to celebrate the visceral meeting of the Doctor and William Shakespeare, a meeting that has been referred to in the classic series several times before and talked about amongst the fan faithful for years. It was a meeting that was long overdue, except for the fact that it had already, supposedly, happened.? The most notable of these references were in PLANET OF EVIL and in CITY OF DEATH where The Doctor claims to have helped Shakespeare pen his famous "Hamlet".? Knowing this, it is most surprising to discover the Doctor meeting Shakespeare with almost teenage zest as if for the first time, when he supposedly has met him at least twice before.? Scriptwriter Gareth Roberts has admitted to an early script version reference to the "City Of Death" meeting but it was edited from the final script versions as being too confusing for casual viewers.

Based singularly on continuity, I personally feel such an obscure reference would have been welcome as each episode of DOCTOR WHO is rife with all sorts of obscure references of sexual innuendo and identity and modern pop culture references that have become the trademark of the new series. CODE offers too very uncomfortable references to HARRY POTTER and BACK TO THE FUTURE and Ray Bradbury's infamous butterfly no less! WHO would have ever thought? Arguably, it can be said these references are not as important to the series, as a reference to established canon, still the reference to CITY OF DEATH has been strangely omitted here and we are at a loss for it. Chalk it up to the Doctor's failing memory after 900 or so years.

In THE SHAKESPEARE CODE, Mr. Roberts has delivered us an episode absolutely brimming with all sorts of Shakespeare minutia to delight fans of the Bard to great ends and it serves as a wonderful tribute to the legacy of William Shakespeare.? The appearance of the Caronnites as witches speaking in rhymes directly references the witches seen in "Mac Beth", and it is unfortunate that play could not have been featured in "Code". Alternatively, the exploration of the possibility of discovering the much debated and discussed" Love's Labor's Won" was effectively substituted to great effect here and its final demise secures it's stature as continuing to be " lost". It is the possibility of it's discovery that first peaks?? the Doctor's interest to stay in 1599 a bit, and it's amusing that Martha wants to try to find a way to record it and return to the 21st century with it in hand to make a fortune on its discovery. The Doctoring quoting Shakespeare's own words was also amusing and well used. The greatest thing about DOCTOR WHO is that through the footsteps of The Doctor and his companions, we are able to vicariously walk through time and set foot in places like the GLOBE theatre in 1599. Witnessing as such Shakespeare's sophomoric taunting of the crowd is our first glimpse of an irreverent but charming portrayal of the Bard of legend as a 16th century cultural icon and rock star.? Historically, Dean Lennox Kelly's portrayal takes massive liberties with the Shakespeare of history, as does Robert's script, however there is not much statistically available on the actual personality and demeanor of England's most favorite Bard. One thing is certain, Shakespeare was a writer who was wildly popular in his own time period and would have probably used that fame to secure all of life's hedonistic pleasures abound. Dean Lennox Kelly's sharply crafted portrayal is one of the most memorable characters in recent years in Doctor Who and he leaves no strings unattached here. . His flirtation with Martha was reassuring, as Shakespeare's sexual polarization has always been in question. In fact, his reference to Martha as " The Dark Lady" lends Martha as being the inspiration to the series of sonnets Shakespeare penned referring to a mysterious dark lady who it was rumored was a lover of middle eastern or even African descent and one of Shakespeare's many muses.? It's amusing to think that Shakespeare's "Dark Lady" could well have been inspired by his boyish attempted tryst with Martha Jones!? His quoting of Sonnet 14 while gazing into her eyes could well have inspired the "Dark Lady" sonnets of yore although it would have been a very witty reference indeed if Shakespeare had quoted directly from those sonnets!

Of special note here is Shakespeare's unique ability to see through the Doctor And Martha as time travelers, a concept he could not possibly comprehend.? . The Doctor's psychic paper fails him, and he observes Martha as being puzzled by the existence of the Doctor?? and the Doctor as having eyes older than he seems. One has to wonder if his remark that he and the Doctor are a lot alike is this episodes 'Saxon'; arc reference in disguise. " Disguise " being an operative word of illusion here. We will know by season's end. If not, than William Shakespeare is seen here as much more than just a man of words.

Of course, lending a poetic waxing to the charms of Martha Jones is certainly not premature here by any means. Her chemistry with David Tennant's Doctor elevates both characters, and her wide eyed child like reactions to traveling with the Doctor have so far proven to be very enjoyable indeed. She is absolutely stunning in appearance and her spirit and personality are gleaming to the point of illuminating. The scene where her and the Doctor awkwardly share a bed goes places where Rose and the Doctor could only dream of, without even going for it. Tennant on the other hand seems far more relaxed and likeable in the role so far this season and both Tennant and Agyeman are absolutely in top form for this episode. The Doctor continues to play hard to get, and certainly still has Rose on his mind. Talking about how Rose would have "known exactly what to say" while lying in bed with Martha, probably would not be par for the course in a Casanova's amorous life!? Martha has her work cut out for her if she's going to get inside the Doctor's cagey heart, or at least one of them.

Production values are once again flawless. Charles Palmer, who has very quietly directed the opening two episodes this season seems well suited to the task and has an understated style that works very well for Doctor Who.? There was a stark believability to the invasion scenes in SMITH AND JONES, and once again we see a similar attention to detail in CODE. More paradoxal however is Gareth Roberts script for this story.?? His dialogue between the Doctor and Martha is crystal magnificence, and his writing of the Doctor's character is very strong and reminiscent of a 1970's DOCTOR WHO adventure.

Yet, the plot serves the Globe theatre as a central character in the episode and is eerily reminiscent of THE UNQUIET DEAD on many levels, especially the opening sequence in the TARDIS, which is almost stolen from that episode. Perhaps the workload of overseeing TORCHWOOD and SARAH JANES ADVENTURES allowed the opening scenes in the TARDIS to slip by the production team unnoticed but the similarities between CODE and the opening TARDIS scenes in UNDEAD never should have been allowed. The episode's end also borrows heavily from UNDEAD, again even in style, tone, and form. Only the names have been changed to protect the innocent. This is the saddest letdown of an otherwise enjoyable episode. The episode is a strange mix of successful elements from TOOTH AND CLAW as well. As such, on first viewing the episode is a bit of an uninvolved letdown and a trifle contrived. The basic plot is Sci Fi clich?, although I will admit, witches on flying brooms is something that has been long overdue in DOCTOR WHO, and the element of the "Power of Words' was perfect on the lips of William Shakespeare and his troupe, unknowingly aiding the Caronnites in their quest. The "witchcraft" elements are explained away as the work of this ancient alien race in the same way THE DAEMONS tried to explain away occult happenings as an alien science. And so unfortunately, Robert's script is contrived, and recycled, while being technically well written, and a sparkling showcase for the future of the Doctor and Martha.

The episode however will probably survive its failings as a fan favorite although, arguably falls short of "classic" status. The final scene, however with Queen Elizabeth's surprise appearance that has the Doctor running for his life, literally, is a treasure of an episode ending and further punctuates the complexity and sheer magic of the Doctor's travels. I would love to see that "future" episode with Queen Elizabeth, knowing that there are now two queens of England that now want the Doctor's hide. Sir Doctor would do best to watch his footsteps in merry old England! BottaBoomba!