Monday, 8 December 2014

Back to Cardiff: Regenerated Doctor Who Experience Review and TARDIS Set Tour



After the disappointment of last month’s last-minute cancellation, the TARDIS set tour went to plan this weekend, as well as the opportunity to visit the newly-regenerated Doctor Who Experience.

Immediately when entering the reception area of the Experience in Cardiff Bay, it’s apparent that things are a bit different. A selection of Daleks, a Weeping Angel, Ice Warrior and TARDIS all make for a more impactful first impression, as well as great photo opportunities and things to look at while waiting to go in.



Gallifrey Guard costumes also flank the box office desk and there are four Galiffreyan Robes on mannequins in the waiting area. Yes, Gallifrey is the theme here, which is apparent when you enter the Gallifreyan Museum as your first port of call on the interactive experience. A robed curator welcomes you and leads you into the adventure... which I won’t spoil for you here. Story details you can discover yourself...

Top 5 observations about the regenerated Doctor Who Experience

1.    It’s more interactive – From the moment the curator welcomes you to Gallifrey and you hear the voice-over from a familiar companion, it’s clear that this isn’t a passive event. Children are immediately led on a quest, on the lookout for glowing crystals. We even have our own crystals on lanyards round our necks, glowing different colours as we move between environments.

2.    It’s more exciting – The TARDIS flight section feels more kinetic. The sense of tumbling through space is more exhilarating, helped by rumbling audio.

3.    It’s more scary – I jumped noticeably (and said a bad word) in the Weeping Angels section, which always seemed like a wasted opportunity in the previous version. The Dalek section was also very tense, with the guide helping to ramp up the tension. Some of the very young children didn't like it – parents need to take a call as to whether their young Timelords can handle it.

4.    The exhibition area feels better designed – While a lot of the content is the same as before, it’s presented in more photo-friendly displays. There’s less a sense of  items just being lined-up in rows and more that they are clustered in relevant collections (see Davros flanked by his Daleks below and the shiny Cybermen section). The exhibition with props from An Adventure in Space and Time was great too - the Menoptera are a hoot! 




5.    There's no main Peter Capaldi TARDIS – I can perfectly understand why the impressive Matt Smith TARDIS was re-used – it’s a great set, but unless you went on the TARDIS set tour (read on for more) the current console is missing, which is a shame. No doubt when it’s eventually 'retired' it will find a home in these hallowed halls.


The TARDIS Set Tour

Only available at certain times of the year when there’s no filming taking place, fans can enhance their Doctor Who experience by going in to Studio 4 of the BBC Roath Lock studios and walking onto the actual, current, working set. For a fan, it doesn't get better than this.

After meeting up in the Experience reception and being given a temporary lanyard, it’s a five-minute walk across into Studio 4 where you are confronted by a huge wooden structure supported by scaffolding, with trails of cables and wires snaking around it. Groups are separated into 6 or 7 members and in turn visit the main console...

1.    The magic begins when you see the iconic blue doors – they are surrounded by a green screen frame. Get your first photo opportunity here – you can take pictures/video of anything in this studio.  


2.    When the doors open you’ll go ‘wow’ – It might look smaller than you expected and the set is running on lower lighting than normal to be eco-friendly, but ‘Wow’, this is the real deal. This is a 360-degree realistic set with no sense of artifice or the ‘fourth wall’. From the blackboards, to where Clara plunges her hands into the console, this is all recognisable.


3.    Be quick – With lots of groups to get through you regrettably only get about ten minutes on the set itself, so make sure your camera is charged up and you’re clear about what you want to photograph or film. Try photos with or without flash to get the best results.


4.    It’s different to before – Even if you went on the same set last year before Capaldi took over, it’s worth doing again. The lighting is different, the bookcases and blackboards add a new charm and there is always something new to look at.  

Monday, 1 December 2014

Meeting the Doctors


This weekend I had the opportunity to meet Peter Capaldi at Project MotorMouth 3, a convention arranged to raise funds for Janet (Tegan) Fielding's favourite charity. In addition to posing with Peter for a photo, I also got his autograph, which led to me thinking - which of the other Doctors have I met/seen the most?

William Hartnell - Sadly, I never met him or saw him before he died.

Patrick Troughton - My one occasion to see Patrick was on 4 April 1983 at the legendary Longleat Doctor Who 20th Anniversary convention. Luckily we had tickets, so weren't turned away at the gates as so many fans were. After hours of queuing outside the Orangery, I met Pat (and Sarah Sutton) and he signed a publicity photograph from The Five Doctors.

Jon Pertwee - I also saw Jon Pertwee at the Longleat event on 4 April 1983. Jon was being interviewed by Ed 'Stewpot' Stewart on a safari boat, docked on the river. I ran down to the water, called his name and took a photo when he turned round.



Tom Baker - Tom was/is MY Doctor. I first met him in August 1997 at a Longleat
Doctor Who event. I grabbed a couple of sound bites for a news piece I was
writing for magazine TV Zone, but this was just a precursor for the main event
- a full personal interview with him in September 1997 to promote the hardback
release of his autobiography - Who on Earth is Tom Baker? My good friend Andy
was there too, taking photos, and the piece was published in TV Zone. I've
subsequently seen Tom at a Barking convention in 2009 where Andy and I posed
with him for a photo/auto and again at at the Time Quest 2 convention in March
2010.


Peter Davison - I've met Peter on many occasions. First was a signing event at the Stamp Centre in central London, followed by autographs at The Doctors convention in Time Quest 2 and Projects MotorMouth 1 and 2 in 2013. I also saw him live on stage at the Doctor Who Prom 2013 and the Excel 50th Anniversary conference. He'll also be host at the upcoming Symphonic Spectacular next spring.


Colin Baker - I first met Colin on Bournemouth Pier after a performance of farce Run for your Wife in 1995. I then interviewed him for TV Zone at a Doctor Who Longleat event in August 1998. Further autos were picked up at Fleet Air Museum, Time Quest 2 and PMM1, though sadly he was too late to be in the group photo for the latter. I also saw him as Inspector Morse in the touring stage play in September 2010 and at the Excel November 2013

Sylvester McCoy - I first met Sylv at the RSC Stratford following his performance as a Fool in King Lear in September 2007. I then saw him as Mushnik in The Little Shop of Horrors musical in Brighton October 2009. He was at Time Quest 2 and PMM1 conventions, as well as Fleet Air Museum. I also him on stage at the Excel, November 2013.

Paul McGann - I met Paul at the bar in Shakespeare's Globe August 2009 following his performance in Helen. He was also at The Doctors and PMM1

John Hurt - As I type, John is still on my bucket list. Fingers crossed.

Christopher Ecclestone - I met Chris at the Donmar Warehouse stage door following his performance with Gillian Anderson in A Doll's House June 2009. I also watched him on stage at National Theatre in June 2012 for Antigone, but he didn't come out to sign that time.

David Tennant - First saw David on stage at the RSC Stratford after Hamlet in October 2008, where I grabbed an autograph among the throng of admiring fans at the stage door. The same month and at the same venue venue I saw him in Love's Labours Lost? I also also saw him on stage with Catherine Tate in Much Ado About Nothing. It was PMM1 in Jan 2013 when I finally got a decent autograph from him and a group photo with the other Doctors present. Finally, I saw him at Stratford RSC again as Richard II in October 2013.

Matt Smith - I first saw Matt in person at a BAFTA event for the premiere of The Pandorica Opens June 2010 though I didn't get his autograph until the official BBC convention in Cardiff May 2012. I got a photo with him at the 50th Celebration on 22 November 2013. Elsewhere I saw him on stage at the July 2011 and 2013 Doctor Who Proms and in the lead in American Psycho the Musical at the Almeida in December 2013.


Peter Capaldi - And finally, onto Peter. I joined the scrambling masses at the barriers of the Deep Breath premiere in Cardiff and was lucky to get an autograph from him (and Sam Anderson). There's also a photo of the back of my head next to him - though that hardly counts. So it was great on November 30th to get a decent photo and less scribbly autograph.

So, I've been meeting
Doctors and getting their autographs for over 30 years. 40
appearances/sightings later and I'm still loving it. Now, where's John Hurt?

Wednesday, 19 November 2014

Theatre Review - Saxon Court, The Little, Southwark Playhouse


Nestled in the smaller studio space of the already bijou Southwark Playhouse is an intimate and familiar office setting. It's Saxon Court, a recruitment agency that's struggling in the recession, and things are just about to get worse at the Christmas party.

New writing is to be encouraged at every stage, so kudos to Made by Brick for mounting this, playwright Daniel Anderson's professional debut. On the face of it we have some regular office characters, and in this respect it's hard to compete with Ricky Gervais and Stephen Merchant's take on the office mainstays - the blonde receptionist, the comedian, the new boy, the bullying boss. But what's different here is the psychological damage that these people are suffering internally.

It will come as no surprise that the OTT displays of bravado are just masking the real feelings beneath the surface, be they insecurities around looks, confidence or unrequited love. At the most superficial level you can judge the characters by their risqué banter, but it's all about trying to fit in, to find a place in the ecosystem and to hold on to your job when the bottom has just fallen out of the market (and that's not the the only bottom you'll see).

Debra Baker is on top form as the formidable Donna. She rules the roost and can fire whoever she wants. Whether she's bullying or intimidating her subordinates, or trying to tread water as her business spirals down the plug hole, she's the alpha female, with just the occasional splash of the milk of human kindness coming through.

Adam Brown is also of note as Mervyn, accepting his role as one of life's victims - whether being ordered to clean up vomit or stick his arm down the loo. His ongoing references to his estranged stepchild are nicely nuanced as he too desperately tries to hold onto the thing that mattered most to him. Elsewhere, Alice Franklin's Tash hides behind her chest implants, John Pickard's louche Joey has trouble at home and Scott Hazell's Noel desperately wants to amount to something, while clearly bring a square peg in a round hole. As for Sophie Ellerby's Nat - well, she has a secret of her own.

The comedy turns to drama in the blink of an eye, and it's telling that while some audience members were hooting at the office party hijinks, others were being appalled at the extremity of the humiliation. We all know these people, we even work with them. Heck, we ARE these people, though we're loathe to admit it. Andersen's crucible is a festive melting pot of The Office, Mike Leigh and Glengarry Glen Ross. It's raw, unsettling and holds a mirror to our darker selves. A welcome alternative to the panto, you just might not want to play 'Pass the balloon' again in a hurry.

Theatre review: Made in Dagenham the Musical - Adelphi Theatre, London - 4 stars


It's not often that I see musicals based on popular films - a lot of them are 'jukebox musicals', hitting the stage with a ready-made songbook, while others just seem to be an excuse to exhume a previously popular box office hit - step forward Ghost, Dirty Dancing, Sister Act, The Bodyguard, The Full Monty, etc. This one looked different - it was a musical version of a fairly recent movie which, while it did ok, hardly set the cinema tills ringing. So why exactly I did I decide to give Made in Dagenham a try? Let's take a look:

1. David Arnold - I love the James Bond composer's film work and having interviewed him a couple of times I've always found him to be great company and a man with a great grasp of music in all forms. At his recent concert he demo'd a song and I really liked it.

2. Richard Bean - As with so many others, I adored his One Man, Two Guv'nors, his hysterical comedy farce, and also enjoyed his satire Great Britain, which I caught at its original Billie Piper-led production at the National Theatre. 

3. Rupert Goold - A director who has never failed to impress with his bold direction and ability to find something new when you think there's nothing left to say. His RSC The Tempest and Chichester Festival Macbeth were my wake-up call to his work, and I've continued to be wowed by his RSC Romeo and Juliet and The Merchant of Venice. Most recently his musical production of American Psycho at the Almeida took my breath away - if you can turn THAT into a successful musical, you can surely perform some alchemy on ANY subject.

4. Gemma Arterton - Gemma has gone from St Trinian's poster girl in the franchise's reboot to Bond girl in Quantum of Solace, to immortal vampire in Byzantium. Elsewhere, bold choices like The Disappearance of Alice Creed and graphic novel adaptation Tamara Drew have shown great range. The less said about Hansel and Gretel the better, because her turn as the eponymous The Duchess of Malfi at Shakespeare's Globe proved beyond doubt that the lady had major stage presence.

So, enough of the justification for going, how was it? As the standing ovation and cheers at the end demonstrated, the crowd lapped it up and the titular anthem was being hummed as the audience descended the stairs from the Dress Circle. While I tend to steer clear from 'feel good' as a description - it's often faint praise - the show does take a significant political milestone (pay equality for women) and builds an uplifting journey from oppression to victory (that's not really a spoiler).  

The stage lights up whenever its star is in the spotlight, which is most of the time. Gemma belts out Richard Thomas' clever lyrics with a sassy verve and a clarity that lets you hear every word - you really want to spend time with this girl. She's ably supported by her fellow factory workers, who are each given their own USPs (sweaty, forgetful, dreamer, brassy blonde) to help differentiate their roles.

The kinetic, stylised set is great, with giant sheets of Airfix car parts swooping down and across from the wings and a giant clock face from the inside of Big Ben. Even a Cortina hits the stage in one of the highlights - a psychedelic car advert launch with Austin Powers-style dancers and dancing. Steve Furst has great fun as stereotype Yank Tooley in the Act II opener which extols the virtues of the USA while sneering why Blighty is so rubbish - it's Miss Saigon's 'American Dream' with even more attitude.

As with the Police Commissioner in his Great Britain, Richard Bean has added high comedy in the form of Mark Hadfield's Harold Wilson and Sophie-Louise Dann's Barbara Castle. Their moments (Wilson's in particular) are at some points in danger of pulling you out of the drama, so farcical are their nature, but if you just roll with it, much fun can be derived from these Spitting Image caricatures.

An earthy script (it never harmed Billy Elliott), a powerful onward momentum and the desire to entertain means that Made in Dagenham delivers the goods. Like most Fords, it's not the flashiest car on the road, but is reassuringly reliable and delivers a memorable journey. Get your ticket to ride now. 


Thursday, 13 November 2014

This is why I won’t be using Halfords Christchurch for my bike repairs ever again




Halfords are really convenient. They're open 7 days a week, and til 8pm most days. My local bike shop is only open six days a week but shuts before I get home. I’d rather support a local business, but unfortunately Halfords wins here.

That’s until I actually use them. I currently am waiting for a phone call to say that my bike is repaired. They've had it for two weeks. It's a simple case of replacing a set of gears wheels (not the technical term  - I leave them to do work that out).

Here's the story so far:

  • Tuesday28 October – 6pm I take in bike because chain keeps slipping. Am told that earliest they can look at it is Friday 31st. They’ll call me when they’ve looked at it.
  • Friday 31 October – No call all day
  • Saturday 1 November – I call, but phone rings and rings. No answer. I decide to call in in person. The technician isn’t in today so no-one has any idea what he has diagnosed. He’ll call me tomorrow.
  • Sunday 2 November – No call all day
  • Monday 3 November – Call shop again. I still haven't had a call. Speak to technician. Oh yes, you need some new parts to be fitted. I’ve ordered them. Should be in by the end of the week.
  • Friday 7 November – Call in again. Technician isn’t in today so I don’t know what’s going on. He’ll call you tomorrow
  • Saturday 8 November – No call all day (But then you probably guessed that didn't you)
  • Monday 10 November – Got through to technician. STILL waiting for parts. We’ll call you when it’s done.
  • Thursday 13 November – No call, no idea what’s happening

So Halfords have had my bike for two weeks now for a fairly simple repair. It's a bike that they themselves sold to me two years ago and the parts as such shouldn’t be hard to get.

I ride my bike to work every day (20-mile round trip). Luckily I’ve been able to borrow another bike but why should I have to?

I will instead go to my local bike repair shop. They might only be open for shorter hours but at least they return my calls and tell me what’s going on. They aren’t more interested in making up lots of kids' bikes for Christmas or selling me 3 for 2 inner tubes.

This isn't even the first time this has happened. I've had occasions where my chain broke on the way home but I couldn’t leave the bike there over night because their stock room was full. One time I got so fed up being ignored that I stood at the desk and RANG their switchboard so that the phone next to me would ring. They then stopped chatting among themselves to see what I wanted.

Here endeth my rant. They don't care about me. When I eventually get my bike they will try to sell me some Gold star service plan, which I will politely decline. I will explain why and say goodbye.

Sunday, 9 November 2014

Doctor Who Season 8: End-of-term report


And so, just three months after Peter Capaldi met his adoring public for the first time as Doctor Who at the Deep Breath premiere in Cardiff, we've had the opportunity to enjoy his entire first season. None of this split-season nonsense - a full batch of 12 episodes to give him a run-in, and what a season it has been. Spoilers  follow.

Here's my review of the episodes in transmission order:

Deep Breath (8) - An accomplished introduction of Capaldi, and by the end we were in no doubt (if ever there was any) that we're in safe hands. The scenes of Clara in the clockwork robot's lair are very tense, as is the meeting between Clara/The Doctor in the restaurant. Great direction by Ben Wheatley, and by using THAT cameo and surrounding The Doctor with the Paternoster Gang this helped the transition. It looked and felt very different to what we were used to.  
 
Into the Dalek (7) - Fab Dalek spaceship action and some great battles. The inside of the Dalek itself didn't quite feel right, as evidenced by various bits of cheap tubing. Sam Anderson makes a great intro as Danny Pink (we'll be seeing more of him!)

Robot of Sherwood (5) - I love Mark Gatiss as a writer, but this one just seemed a bit inconsequential. The bickering between The Doctor and Robin soon grew very tiring, and even if Clara looked great in her flowing robe, this just didn't work for me. It could have been any Doctor playing this one and the resolution with the golden arrow just felt lazy. 

Listen (9) - Now this is more like it. Moffat doing big, creepy ideas. Addressing the monster under the bed, some timey-wimey science and a flashback to The Doctor's childhood, What's not to love?  

Time Heist (6) - Ocean's 11 in space, or sci-fi Hustle, the premise is sound and familiar, and this rates as one of those solid episodes that just sits there, filling the season's quota. Keeley Hawes is notably OTT, but The Teller is a fun monster with the ability to turn your brain to soup. The ending is just a variation on the previous season's Hide and was anyone really surprised at the identity of the mastermind behind it all?    

The Caretaker (6) - Less The Lodger/Closing Time and more like his Sarah-Jane Adventures, Gareth Roberts' Grange Hill with a robot is actually more fun that it initially promises thanks to some clever dialogue and a great performance from Ellis George as rebel school kid Courtney. Danny really comes into his own here, which helps divert you form the pretty rubbish big bad - the Skovox Blitzer

Kill the Moon (7) - Taking the show completely into the realm of fantasy (the Moon is an egg?) this boasts such huge conceits that it wins points for its cheek. Great monster, nice cool supporting performance from Hermione Norris, an allegory for abortion and The Doctor showing his ruthlessness. Wow!
 
Mummy on the Orient Express (8) - No-one expected this to be good, so what a treat that it not only ticked all the right boxes but also proved to be a rollicking adventure with a cool high concept idea (the clock ticks down on-screen as the monster sees you) harking back to old Who. And a great new writer in the form of Jamie Mathieson.

Flatline (8) - Proving that he's no one-trick pony, Mathieson's other script this season again confounds initial fears that it's going to be a ho-hum Earth-set filler. Instead we great some neat ideas about a 3D menace, some amazing CGI effects, comedy gold around the shrinking TARDIS and a cool hero moment at the end. Spooky and fun.

In the Forest of the Night (5) - Frank Cottrell Boyce's fairy tale about a magic forest just didn't work for me. Not enough jeopardy, some very dodgy animal CGI, a reset switch and a general lack of pace - this was the season's lop point for me. And what was it with the missing sister appearing from behind the bush at the end? WTF
  
Dark Water (9) - Loved this. Great pace, a fantastic reveal, a labyrinthine plot, some huge shocks and a wonderful performance from Michelle Gomez as Missy. This is what cliffhangers were invented for - a story that fully deserves its long running time.

Death in Heaven (8) - Inevitably, this cannot match the power of the first-part, mainly because the big surprises and twists have been revealed. Great set-piece on the plane and in the graveyard, though not happy about the Brigadier Cyberman. Just seemed a bit macabre. The final departure is very well done, with the double-lies of Clara and the Doctor meaning that they are both in a bad place. Really not looking forward to the Santa meets Alien Christmas special.



Average season score – 7.2

I loved Capaldi. He’s just wonderful as The Doctor. He hasn’t set a foot wrong all year. Jenna Coleman has also been given the chance to shine as Clara – right from Deep breath and up to her departure. Has this been at the expense of developing The Doctor? Maybe, but it also meant she could become more than The Impossible Girl. Kudos also to Sam Anderson as Danny Pink, the man with demons who paid the ultimate price. 

In all, a solid season with plenty of evidence that even at 51 this programme is still willing and able to take risks.    

Saturday, 25 October 2014

JoyBlog is back...

...with a new design, and I promise to post more frequently. Well, more frequently than once every 20 months!

First up, here's a reminder of this DHDWF (Die-hard Doctor Who fan) as seen on Meridian News back in April.



This was by far my most shared and commented upon social media item EVER. Just goes to show what dressing up with a Tom Baker scarf at the opening of a new TARDIS police box in Boscombe can do for your profile. The Police Box was still there last weekend and looking in good shape.

I'm also hoping to post some of my older interviews and articles on this blog, not least because a lot of the magazines I wrote them for are no longer around and won't be worrying about things like copyright.

A fortnight today I'll be up at the newly regenerated Dcotor Who Experience in Cardiff, so photos and a full review are inevitable, as will a new Radley handbag for Mrs Joy (again, the price I pay for being a DHDWF).

And then at the end of November my fellow Timelord Andy and I will be attending attending Project Motormouth in Slough where we'll be meeting Peter Capaldi, getting autographs and photos, all for charity. 

50th anniversary? That's soooo last year!