A new story set in Doctor Who's past is an odd hybrid. Written in the present day and inevitably shaped by awareness of the now as well as the 'then' of a non-contemporary phase of Doctor Who, it has to be authentic to the era it's working to evoke without seeming disingenous. Happily, Ian Potter's The Sleeping City manages to be a narrative for the twenty-first century listenership while successfully drawing upon anxieties which would have held meaning for producers and audiences in the mid-1960s.

Doctor Who in the mid-1960s toyed with espionage stories - The Reign of Terror for one - but its early evening slot probably deterred programme-makers from blatantly acknowledging that the adventures of the Doctor and his friends addressed Cold War paranoia. The Sleeping City finds Ian Chesterton in the hands of the secret service, who find his sudden reappearance and that of Barbara Wright nearly two years after they vanished from London needs urgent explanation. For reasons at first obscure to the listener though already explicit with hindsight, the key to the release of Ian and Barbara lies in the tale of their visit with the Doctor and Vicki to the city of Hisk.

One of the features of The Companion Chronicles has been the point in time from which the narrating companion's voice has come. Many seem to look back from late in life at a remote time, but here William Russell is from the start evidently narrating from the point of view of an Ian much, much closer to the one we saw on television. It's down to Russell's performance that we accept this, more than the line that Ian is 'rather dry' and needs a glass of water; this is an older man's voice which can project if not the energy of someone younger, then the memory of it. Rather than impersonate Maureen O'Brien, Russell's Vicki is a high voice emanating distantly from somewhere near his elbow; and the Doctor is Russell's first Doctor owing something to Hartnell only in the sense that this is a performance with an obvious grandfather. John Banks is a judiciously versatile agent Gerrard and various residents of Hisk, mastering the doubtful, the doughtily doubtless and the magnifier of self-doubt.

Ian Potter's writing and William Russell's delivery evoke the poetic quality of many of those avant-garde Lambert- or Wiles-produced Doctor Whos. There is a beautiful explanation of the workings of the TARDIS: quicksilver and the power of the Sun, and valves and magic. The lived fiction of society on Hisk is etched in details - the market where everything is the same price and there is no shortage or oversupply, the sluicing tubes which dispose of out-of-date goods, the bell calling everyone to 'limbus' - rather like the air raid warning summoning the Eloi to their doom in George Pal's The Time Machine - and the limbus dream-shields one can imagine as props designed by Raymond Cusick, Barry Newbery or John Wood. There are nods towards emergent psychedelia, much as there were in stories such as The Daleks, Inside the Spaceship or The Web Planet, but developed now to tell a Cold War story with an emphasis on the nature of society and manipulation of the individual at an unconscious level. There are echoes of The Ipcress File and The Prisoner rather than Doctor Who's more common fear of the bomb and memories of the Second World War, though listeners might find some parallels, though inexact ones, between Hisk and the Sense-Sphere of The Sensorites. Misguided self-regulation, though, is a theme with applications in other time periods too; keeping everything stable and safe prevents innovation and risk and sets limits to imagination.

So much for another Brave New World; but the trick of the story is that while explaining how all was lost, it turns out to have been about making everything better, without necessarily assuming that our protagonist comes from the best of all possible worlds.The Sleeping City is a story for William Russell and Ian Chesterton fans not just because of Russell's ever-reliable performance with a capacity still to surprise, but because it manages to be about Ian's perception of his environment and companions, without needing to invent or import detail unavailable to or unimaginable by the viewer of 1963-1965. It's also for those who like fiction which toys with its audience's and its characters' understanding of events while still presenting a solid narrative thread, while leaving them to imagine what the sleeping city itself will be like when it awakes.

This well-prepared and well-paced documentary came as somewhat of a surprise to me when I got word of it the other day - perhaps having got the impression that the 50th Anniversary was covered exhaustively by the BBC alone. The 'hook' that separates it however is its focus on the many, many fans of the show. Some of the Who fans of course only came abroad when the wildly successful revival last decade hit full steam, but there were many who kept 'the flame alive' during the so-called 'wilderness years' of the 1990s and early 2000s.


The very beginning is a treat for anyone - grown-up or kid - who has been given a scare by the iconic Weeping Angels. A damp dark area somewhere urban which brings up memories of 'indistinguishable corridors' and these monsters are coming after the person with the running point of view. Although creepy there is a little 'tongue-in-cheek' side to it at the same time, which to my mind sums up Doctor Who's je ne sais quoi handily.

Although the title would imply there was a lot of fandom from the very beginning in 1963, this is perhaps misleading when it comes to which stories and production eras the documentary covers. Given the duration of this film it is in any case rather wise that the focus is on the 1970s onwards - that decade mostly in part to the prize interviewee that is Louise Jameson who played Leela for nine stories. Indeed full-on conventions really took off once John Nathan-Turner was producer and exercised his trump card ability in getting events to happen -with greater and greater scale and ceremony added to them.

Perhaps if the film had an extra ten or fifteen minutes and a budget to cover someone like Peter Purves or Anneke Wills then this would have really been a case of getting insight into the fifty years' span; although Purves does feature very briefly in convention footage. Jameson does at least describe the thrill of her and her family gathering to watch the show in its black and white days, which is something I did not know before.

I myself fall into that generation who got to experience classic doctor who in a wildly jumbled chronology as different stories had priority in terms of being released on cassette or repeated on BBC Two. One fan on the documentary describes his earliest memory being Remembrance of the Daleks - quite understandably given its quality and *that* first cliff-hanger episode ending. I myself had rather less vivid memories of the story from start to finish, but that didn't last long once I secured a BBC video copy a few years later.


Some of the interview material provided by Jameson and Robert Shearman is familiar if the viewer has bought the DVDs of relevant classic series stories. Nonetheless both are as engaging as ever. Jameson's outlining of how she got a bigger profile in the 70s and 80s - be it onscreen on TV or treading the boards of major theatres - is a good topic, reminding the viewer that some in the show did move into more mainstream projects such was their talent. Yet unlike some who shy away from conventions, Jameson was always comfortable with being recognised for her time as Leela and indeed noticed as a star of a major long running show.

Jameson also covers the fascinating area that was and is her up-and-down connection with Tom Baker, fully emphasising just how much they are friends in present times. Her candour in saying questions at fan signings and panel interviews repeat themselves and her consequent need to try and get new material is very welcome; the sign of an out and out professional even when she is not acting. She also is rather concerned about some fans being perhaps taken for granted as a means to an economic end. Most important though is her summary of the Doctor being the do-gooder/outsider defending the vulnerable and different from bullies.

Shearman is still one of my very most admired authors and commentators of the show. How he continues to be passed over for a return to television Doctor Who when others with clearly less imagination and wit return at least one more time is one of the great unsolved mysteries. But Shearman never for a moment gives you the impression that he is bitter. His recollection of attending meetings in the lead up to series one being produced and his low or vague expectations of any impact on the ratings are a welcome reminder of just how much of a risk the big-wigs at the BBC were apparently making when they let Russell T Davies convince them of investing in an institution which many now saw as from a bygone age.

The author of Dalek shares his feelings on being both a fan and a staff member, in a relaxed fashion. If only more people behind entertainment had that sense of being given the dream job of providing first rate escapism. He details the early days of writing for fanzines and expressing his views within the niche communities that were representative of pioneering fandom. There is also a fascinating glimpse into the heated debates that the writing team had when putting the show together; much like they did when they were still amateur fans in times past.

In terms of the actual 'normal' fans themselves, there is a lot to take away and reflect on, Lecturer John Paul Green, who gets to include programs like Doctor Who in his film and media syllabuses for undergrads, sums up well what I myself enjoy in Doctor Who. There is a flexible formula and top notch realisation of our wildest dreams. A nice mention is made of The Unfolding Text academic work of the early 1980s - which arguably had a big hand in the eventual glut of reference and in-depth texts which hit book shelves. He also reminds us of just how much Star Wars made Doctor Who look pedestrian, at least on the surface, for the rest of its run as an under budgeted family show. More positively Green backs up Shearman's words on the fandom creative output that was published professionally by Virgin, BBC books and produced as plays by Big Finish. His story on being an extra in Rise of the Cybermen in series two is well-told. Whilst arguably most meaningful if the viewer knew Green personally, I still rate an invitation into a flagship drama as an extra being more valuable than being an oddity on a cynical reality TV show.

Lynne Hardy is a welcome contributor who points out that being able to hold a conversation is one of many skills all good fans have (and indeed had before 2005). I am happy to be writing this review knowing that this documentary is freely available to a market of fans bigger than ever before in 50+ years of space and time. Hardy describes fandom as a big 'family' which is rather a different perspective on things than Green's 'small community' description , and indeed a number of the other interviewees. This diversity of perspective is most welcome and makes the documentary end up avoiding a one-note 'love letter' feel.


Fandom in America - and how it changed and grew at different points - it would provide more than enough material for a whole separate documentary. What does feature of it here is quite enjoyable. We meet YouTube film maker Michelle Osorio. There is a great story her in initiation by an ex- boyfriend into the show we all know and love. Also there are enticing details of her pet project of a series that features a Dalek in disguise in an office - complete with a brief clip from her film. Her story on how the Dalek prop was transported to where the film was being made is also uniquely heart warming for a travel enthusiast like myself.


The film also features a member of the crew who contributed to the series for about 5 years (and covering both Tennant and Smith). Nick Robatto's laid back manner of describing his fine work on props - that defied the cliché of sellotape and polystyrene of yesteryear - is one of the better 'talking heads' elements of this film. He mentions cots, mirror catcher devices and of course our favourite power tool the sonic screw driver. Clearly leaving his mark on as popular an era of the show as any Robatto also mentions his steady work producing replicas for ardent collectors of various merchandise. He also gets a well-intentioned dig on those paid to remember lines from a script by saying that it is tough to make his products 'actor-proof'. And indeed certain fans who know more about his own work than he does.

Certainly whilst Doctor Who has left a strong impact on me creatively and philosophically I am perhaps a bit more reserved than those fans who unabashedly dress up for various events throughout the year. A mention of a Sixth Doctor impersonator encountering Colin Baker emerging from a lift is a truly brilliant moment, as told by Green with a gleeful twinkle in his eye. Yet when Osorio later on describes the dressing up as characters it feels rather more like something to be taken seriously - she works hard on her craft as a filmmaker in all departments and likes to extent the attention to detail when meeting other fans. Two very different viewpoints which are equally valid and enjoyable. And Louise Jameson also puts a good case forward for those who dress up as fictional characters, but one would expect that from a professional entertainer.

Other fan contributors also feature in perhaps a slightly more low-key manner. Robert Ritchie is rather deadpan in style despite having some of the most amusing stuff to say. He performs a Dalek version of "Would you like some tea", and indeed has a lot of interesting and measured material to share - especially in regards to how his creative-oriented career took off and shows no signs of slowing down. Andrew Fenwick Green is perhaps underused as he shows off his various costumes and props. The most amusing being an Ood head-mask at a wedding. He also posies with great supporters of conventions like Daphne Ashbrook and the wonderful Colin Baker.


Although the documentary fundamentally succeeds in terms of remit and execution it does fall short of being a masterpiece. Music has always been important to me and there is simply a dearth of a soundtrack. Consequently the process of watching from start to finish is a little bit more forced than ideal. Also the choice to limit interviews to the single person at a time is a bit too restrictive. As I have enjoyed a multitude of commentaries and documentaries on the BBC DVD range for the classic series, there was always a sense that there was a team spirit. As interesting as the interviewees are, the chance to have someone spark off a debate or a resounding agreement depending on the topic, is somewhat missed. There is an overlap of themes and perspectives but the viewer has to almost piece these together at times. Also I do miss small but effective elements such as blue prints or photo images of stories or the making of stories. Even images of conventions and events where fans congregate seem relatively sparse, given how much the interviews mention these events.

Nonetheless this is a fine effort from all concerned and a nice alternative to the various programs that were featured on the airwaves en masse during last November. This is worth your time in checking out - be it as a streaming online video, or a more conventional DVD. There is a large amount of new material for a die-hard like myself, and even more for those who have discovered our wonderful show in recent times.

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The documentary is available to buy from FTS Media on DVD, Blu-Ray, HD digital download, or streamed online. There is also a special offer at present where purchasers can also receive a free digital download using the code "FREEHD".

Taking place between seasons 19 and 20 of the classic television series, when the fifth Doctor (Peter Davison) and Nyssa of Traken (Sarah Sutton) were temporarily travelling together without Tegan and other companions, Moonflesh is an earth-bound adventure, set in Suffolk – a fact the Doctor deduces by the fragrance of the local leaf mould – in late October 1911.

The story begins with the TARDIS materialising close to the home of a famous explorer, Nathaniel Whitlock (Tim Bentinck) and his loving daughter Phoebe (Rosanna Miles). Whitlock has stocked the grounds of his estate with lions, elephants and other exotic wildlife, and charges visitors handsomely for the experience of hunting them. He is attended by a faithful Native American servant, Silver Crow (John Banks), whose hunting skills and spiritual beliefs soon prove significant – especially once the Doctor and Nyssa find themselves being stalked by a hungry lioness within minutes of landing!

With their arrival coinciding with that of a wealthy hunting party – bullying industrialist Edwin Tremayne (Hugh Fraser), his put-upon son Hector (Geoffrey Breton), and Ms Hannah Bartholemew (Francesca Hunt), an ardent supporter of women’s equality who has quite the eye for a pretty girl herself – it’s not long before mysteries unfold and secrets are revealed, with potentially fatal consequences for all concerned.

Writer Mark Morris has previously depicted the fifth Doctor in the BBC Past Doctor Adventure Deep Blue, as well as in the Big Finish audio Plague of the Daleks, and has a firm grasp of the character of the Time Lord. Scenes such as one where the Doctor gets to display his bedside manner, or casually refers to being “possessed by aliens dozens of times and it’s never done me any harm,” are delightful. Nyssa is also well written, portrayed as compassionate, intelligent and inquisitive; their scenes together are particularly enjoyable.

Morris’s supporting characters are slightly less well-realised, tending more towards the larger than life than the well-rounded; however the relationships between them are well presented thanks to a combination of effective dialogue and strong performances – though having two blustering and headstrong Englishmen in the one story does sometimes make the characters of Edwin Tremayne and Nathaniel Whitlock a little hard to differentiate, for which director Ken Bentley must also bear some blame.

Elements of mysticism and mythology in the story evoke the feel of televised fifth Doctor adventures such as Kinda, while the historical setting naturally recalls Black Orchid; as the story develops, it also calls to mind the standard base-under-siege adventures of the second Doctor, as well as two fourth Doctor stories in particular: Horror of Fang Rock and The Hand of Fear.

The plot is serviceable though not outstanding, and some aspects of the story don’t hold up to scrutiny – if only Whitlock and his daughter live in their vast house, for instance, who feeds the wildlife and prevents their animals from escaping into the surrounding countryside?

The writer’s decision to set an extended sequence of his story in the spirit world of America’s First Peoples is more problematic; but while Morris’ appropriation of Native American religious beliefs borders on insensitivity, the fact that Moonflesh resorts to an audio equivalent of blackface by having a white English actor, John Banks, playing a Native American role, is of greater concern. That Banks plays the role – which borders on the cliché of the noble savage – well is beside the point; unless Big Finish is 100% committed to colour-blind casting across its ranges for all characters, it’s a casting decision which at best suggests a lack of respect for indigenous peoples, especially when one considers the low number of peoples of colour employed in the British entertainment industry.

More positively, Andy Hardwick’s sound design is nuanced and subtle, with every creaking floorboard and crackling flame adding to the atmosphere evoked by his richly cinematic score; and while the story may be a trifle shallow, overall Moonflesh is well-paced and – save for the flaws mentioned above – a mostly satisfying addition to the monthly range.

An atmospheric, knowing tale that ultimately delivers a number of smart twists, this adventure opens by building neatly on the concluding events of ‘The King of Sontar’. Dwelling on the emotional fall-out of Leela’s earlier decision and the Doctor’s displeasure, we witness Leela’s ongoing development as she reads a series of fairytales in order to escape from the Doctor’s apparently scolding silence. Little is wasted in this cleverly economical script, and the fairytale motif returns a number of times later on, shifting, mutating and deepening as we encounter it in various ways.

However, learning isn’t a wholly positive force in this story. Leela’s acknowledgement – “thank you, Doctor, for my education”, she says at one point – is contrasted with the academic culture encountered by the time-travellers. “Senior Tutor” Bengel and her “research assistants” are busy researching an extremely unusual planet where darkness endures almost constantly. Modified by injections so as to operate in the dark, these boggly-eyed scholars are investigating the “white ghosts” of the title: savagely sentient plants that grow at an accelerated rate when exposed to light. But this isn’t an idealistic pursuit of knowledge. Instead, the team of researchers aim to exploit their discoveries, vying dangerously with one another for status.

The Doctor coins a nickname for one of this scholarly team (performed very effectively by Bethan Walker from the Torchwood episode ‘Cyberwoman’), addressing her as “star pupil”. Elsewhere this might be a compliment, but in this case it eventually takes on a bleakly ironic tone. Meanwhile, the Senior Tutor is voiced by Virginia Hey, crossing from one SF franchise to another, and playing her role with all the conviction and authority that it requires.

For most of its running time this is a taut and compelling creation, veering into the territory of vampire mythology. But the story’s resolution is perhaps slightly hamfisted, depending on an impromptu and convenient spot of time-travelling while the Doctor and Leela are separated from the TARDIS. More intriguingly, the events of ‘King of Sontar’ resonate here in ways that run beyond Leela’s learning. The mythos introduced in ‘State of Decay’ is eventually also referenced, and the Time Lords look set to offer a recurring backdrop to this series of stories.

Although the mystery of the “white ghosts” is eventually solved, the story again doubles and bifurcates its pursuit of knowledge, with one discovery being countered by another of a very different nature. It seems that learning can be both good and evil, hopeful and duplicitous, in this world: fairytales don’t quite offer a reliable guide to the darkness at the edge of the universe.

When Leela engages in combat, we hear her ‘inner voice’ or warrior’s consciousness, and the device works extremely well to capture what could otherwise be a highly visual action sequence hamstrung by an audio-only format. It also slows down the action for a scene or two, in a story that is otherwise furiously concerned with acceleration – accelerated growth, accelerated change, and faster-than-light salvation. This counterpoint works exceptionally well, and Alan Barnes’ story is well served by Nick Briggs’ direction both here and throughout.

Tom Baker’s hilarious delivery of another incarnation’s catchphrase has to be heard to be believed. And there are other aural treats: occasional music cues sound vaguely reminiscent of The Hitchhiker’s Guide to the Galaxy to me, but this isn’t a Douglas Adams-esque romp, coming across instead as a tough SF-vampire thriller. There’s no sparkling in the light in this brand of hard-edged fantasy, and just as the Doctor’s response was called into question at the end of ‘King of Sontar’, some of his actions this time around also seem far from ideal. This realisation of the fourth Doctor is a touch less heroic than some of his televised versions, and rather more compromised or doubting, as Tom Baker notes in the extra feature interviews. It’s a fascinating dynamic, off-setting Leela’s growing understanding and literacy with a slightly less God-like, omniscient Doctor who's recurrently pushed to make difficult choices. However much we might strive to improve ourselves, awkward decisions always remain. And the Doctor’s optimism at meeting “people of learning” proves to be largely unfounded; learning is no guarantee of goodness or civility in ‘White Ghosts’. Light and dark may offer black-and-white certainties, but this is seemingly a grey universe, lacking in moral absolutes. Whether you’re a Doctor, a star pupil, or a Senior Tutor, you might not know best.

On Monday April 14th, the day was uncertain for one of the main attractions. Tom Baker was to appear at The Ivy in Leicester Square, but days before, an illness seemed ready to put a stop to his attendance, having already cancelled a signing the Saturday before. Upon my arrival, and stepping aside at the main entrance, how wonderful it was when the Fourth Doctor himself was then happily posing outside infront of fans and photographers in the sunlight with one of his adversaries, a Dalek. Upstairs at the restaurant and bar provoked a lot of interest for the day with the very costumes of Doctors One to Seven (the latter being from The TV Movie) on display after their previous presence at the 50th Anniversary Celebration at London's ExCel arena.

Gathering fellow Doctor Who fans, bloggers and journalist in a corner of the room, Baker himself, looking very well at 80, greeted all to an enthusiastic "hello" back, as the Q&A session began. A first question posed was his much talked about cameo in The Day of the Doctor, something that the actor initially didn't want to have a part in. Baker spoke in a particularly vein manner when recalling a meeting with former producer Caroline Skinner:
He was then asked if another potential return to the show would be out of the question:

Baker is known to the fandom to have had, at the time, disagreements with producer John-Nathan Turner during the 1980 run of the show which eventually saw a final season with his Fourth Doctor. He explained the reasoning behind his untimely departure:
Interviewing him, I kept creativity in mind, stepping away from the formulaic questions such as "what was it like being The Doctor?", and instead queried about his feelings of the several costumes he wore throughout his tenure, to which he lovingly took on as an acting job. I later queried about his supposed involvement in The Five Doctors 20th anniversary special and if his decline to the opportunity had something to do with his conflicts with Nathan-Turner, which was indeed true:
An interesting question cropped up, revealing that he had been approached to be in The Sarah Jane Adventures for a guest stint as The Doctor intended for a sixth series. Enthused by the prospect, at the time, Baker then reminisced his memories being with former co-star Elisabeth Sladen:

A break allowed all to chinwag about their appreciation of Who and of the man present, with complimentary drinks, refreshments, and (believe it or not) jelly babies layed out on tables. Tom was then photographed in between Peter Davison, Colin Baker and Sylvester McCoy's costumes while, as an extra special treat, wearing his burgundy hat and scarf he first wore in his final series as The Doctor. Leading next was Horror Channel's showcase of promoting Classic Doctor Who on the UK channel, represented by the face of the channel, Emily Booth, who proceeded to give a speech and presenting scenes from a couple of Tom's stories, (The Face of Evil and Genesis of the Daleks) set to the full 1963 version of the theme tune. An interview followed with Booth to Baker about his life on the show and his delight at Classic Who being on the channel, sharing anecdotes of being a fan of horror himself. After which, Tom quietly left.

There were musings in coversations that Peter Davison and Nicholas Briggs were to turn up, but alas, this never materialised, but Tom's presence certainly didn't bat this. Three individuals who did were The Fires of Pompeii writer James Moran, a representative from the BBC and a man named Peter, whose company (which I failed to know the name of) were responsible for creating the animation seen in Horror's posters and commercials.

It had been a frankly brilliant day talking non-stop to fans but also briefly exchanging words with the man himself. It had been arranged perfectly by the Horror team at an appropriately posh venue for a showcase like Doctor Who. Baker was on form and kept everyone in good spirits by joking in his usual manner but also being truthful and setting eyes on every person to interact with. Had Baker not have turned up, the launch would have been much shorter and would have felt somewhat empty. In short, Tom Baker saved the day and appeared to have enjoyed it very much.

Once, A New Musical has been running in London's West End for over a year now, but its latest star has drawn a new crowd of Doctor Who fans, as Arthur Darvill takes over the role of Guy for the next month.

The role is a very different one for Darvill, far from the reluctant hero Rory dominated by his assertive wife, and patrons expecting to see a musical version of Rory will be disappointed. But in the role of Guy, Darvill is outstanding. It is a role he has played on Broadway and one in which he excels, bringing a reality and grit to what could be an over-sentimental piece.

The musical takes place at the Phoenix Theatre in London, but on entering the auditorium you find yourself in a Dublin bar. Indeed, a real bar with real drinks being served stands at the back of the stage, with members of the audience being encouraged up to spend some money and listen to some good Irish music. It's a very clever device which puts the audience in the centre of the action from the very start, literally mingling with the show's cast, and you hardly notice when the stage managers gently move the audience members into the stalls and the action begins.

In the show Darvill plays a Dublin busker and vacuum cleaner repair man, pining for a lost love. It's a role he seizes with relish and it gives him a chance to return to his musical roots. He belts out his numbers with a passion and energy that lifts the whole show. He has a fine strong voice and as he pours his heart into the songs you really feel his pain, passion and frustration.

In the story he meets a young Czech woman in the bar who is moved by his music and they start to fall in love. The girl is played by Zrinka Cvitešić who has been with the production since its London premiere and who is delightful in the role, bringing a playfulness and vitality and a zest for life to the role, which sees her tease and cajole Guy into performing his music and bringing him out of the depression he was mired in.

The whole cast perform their own music, and as the musical proceeds bring a whole raft of characters to life, from the girl's eccentric flatmates to the Irish bank manager with a hidden secret. The fact that there is no orchestra churning out a backing track, with all the music coming from the players on stage, again feeds into the reality of the show and draws the audience into the action.

All in all, it is a very entertaining evening. Darvill is with the London cast until 10th May, with the production booking into next year.


For more information on the production visit the official website or the Once, The Musical Facebook page.