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Partners In Time
At last! The Doctor and Donna are back!
[Above Cover for “The Tenth Doctor Adventures Volume Three”, featuring (l-r, top-bottom) Catherine Tate, David Tennant, Jacqueline King, Bernard Cribbins, and two Judoon.]
The Doctor and Donna Noble are arguably one of the most popular Doctor and companion pairings ever, and their adventures in space and time continue in The Tenth Doctor Adventures Volume Three. David Tennant and Catherine Tate reprise their TV roles for a second run of audio adventures from Big Finish.
(Full Article Under Cut)
Producer David Richardson says: “I actually got very nervous in the weeks before recording, as I did on their previous box set. You are just so aware that you are going to be working with two of the biggest stars in this country, and you want them to have a brilliant time and for the whole thing to run smoothly.
“The night before recording I just told myself, forget the nerves, treat it like any other production and it will be great. And actually by the time David and Catherine arrived at Moat Studios, the nerves had totally evaporated.
“David and Catherine don’t behave like stars – they walked in as two normal people who get on with everyone. When you’re sitting having a cup of tea with David Tennant talking about The Avengers or whatever, you’re really just chatting to a lovely human being.”
It was director Ken Bentley’s first time directing David and Catherine, and before recording began he admitted to Vortex: “I’ve not had much time to think about it as we’ve been extremely busy through August and September. I only just managed to squeeze in the time to schedule it!
[Above (l-r) David Tennant and Catherine Tate]
“I’m like any fan, dying to hear what the Nobles, Wilf and The Doctor get up to. What a dream cast!”
– Russell T Davies
“I always get excited about working on a new range. The bit I love the most about directing is working with actors, and to work with actors new to me is always something I look forward to.
“In my line of work it’s the rehearsal room and the recording studio where the magic happens, and it’s always a treat to watch professionals bringing roles to life.
“All actors work and respond differently. Part of my job is to quickly figure out how an actor likes to work so I can help make the recording go as smoothly as possible for them – and for everybody else. It’s a challenge I enjoy and I like to get it right. So it’s exciting for me to work with an entirely new team and to figure out what makes them tick.”
[Above Cover for “No Place” by James Goss, featuring (l-r) Bernard Cribbins, Catherine Tate, David Tennant, and Jacqueline King.]
The first story in the set is No Place by James Goss. Script editor Matt Fitton says: “We knew straightaway we could bring the wider Noble family into it by having Donna and Sylvia together, so we gave James that brief. It meant it had to be set on Donna’s contemporary Earth, since her mum isn’t aware of her space and time travel yet.”
Former Doctor Who showrunner Russell T Davies, creator of Donna, Sylvia and Wilf, tells Vortex: “I’m so excited about the return of the Noble family. I put in a request to Big Finish never thinking they’d actually pull it off. But, I might have known, they’re unstoppable! Marvellously, I haven’t heard the adventure myself yet, so I’m like any fan, dying to hear what the Nobles, Wilf and the Doctor get up to. What a dream cast!”
Jacqueline King was delighted to be back as Sylvia.
She says: “Since we finished on TV I’ve seen David a couple of times, and I keep in touch with Bernard because he’s so gorgeous! He and I did the quiz show Pointless. And Catherine was in a play which Bernard and I went to see together, so that was lovely. We’ve just not been all together so there was so much to catch up on. I felt desperately maternal towards Catherine, wanting to know how she was!
“I was very jealous that David and Catherine were going on to do more stories over the next couple of days without Bernard and myself. Bernard and I were joking, asking, How can you do that? That’s just disloyal!
“It was lovely, and if we could have carried on I would have but it was just one day. It would be heaven if we could do more!”
Matt continues: “James came back with this ‘haunted makeovers’ idea which was great, and as it was being developed we asked James to keep in mind a role for Wilf in case we were able to get Bernard Cribbins – perhaps just a cameo role. As it turned out we learned fairly early on that we could have Bernard for the whole day, so it all worked out perfectly and Wilf was fully included in the episode at the storyline stage.”
In a similar vein to what the TV show did at the time, No Place taps into the zeitgeist of what is currently popular on TV, which in this case brings in the feed of ghost and home makeover reality TV shows.
“If you’re a fan of either Buzzfeed Unsolved or Homes Under The Hammer you’ll find lots to love in this.”
– James Goss
James explains: “Honestly, when you think about it most horror films are home makeover shows! Family moves into house on haunted graveyard. Tries to do it up. Ends up running away screaming/being dead/finds out they were always dead so probably shouldn’t have bothered wallpapering the downstairs bathroom. This was inspired by that. Imagining a horror film but with Kirsty Allsop following our screaming family about. And making the screaming family the Doctor, Donna, Sylvia and Wilf.
“If you’re a fan of either Buzzfeed Unsolved or Homes Under the Hammer you’ll find lots to love in this. We’ve got a ghostbox, we’ve got replacement light fittings, we’ve mysterious voices, we’ve endless discussions about plumbing. The one thing we couldn’t do was Hammer’s endless, appalling punning music track. (Presenter: ‘They really do love this hopeless place.’ Music: ‘We Found Love in a Hopeless Place’)!”
Producer David Richardson adds: “I’m struck by how creepy it all sounds. Some of the sequences in the old house are really unsettling even without any effects or music, which is a sure sign of how great the writing, performances and direction are.”
[Above Cover for “One Mile Down” by Jenny T Colgan, featuring (l-r) David Tennant, a Judoon, and Catherine Tate.]
One Mile Down by Jenny T Colgan continues the Doctor and Donna’s adventures when they find themselves in an underwater city and encounter the Judoon.
Matt continues: “In terms of using new series monsters, the Judoon are one of the most recognisable and the Tenth Doctor has some history with them, meeting them several times during his era.
“Because of what’s been established on screen there are certain monsters he’s meeting for the first time, but with the Judoon he knows what they’re about and how they work. They are not power-crazed evil monsters, they are mercenaries working for other people, and their agenda isn’t always immediately clear. It’s nice to have that bit of potential uncertainty – are they an ally? Are they a threat? We get to play with that in this story.”
“We have individuals in the Judoon ranks which we’ve touched on before. There’s the trainee, Klo, who starts to side with the Doctor and Donna, realising they can do some good during the story, which is a fun thing to play with.” The story’s setting lends itself to a good soundscape, with a city beneath the waves.
Matt explains: “In the TV episode Smith and Jones, the first thing we see the Judoon do is control the rain and send it upwards with their H2O scoop.
“That means we can make use of their technology which lends itself perfectly to an audio story.”
Of course, Donna has also encountered the Judoon on TV, and Matt adds: “Watching Donna in The Stolen Earth, we get a reaction from her to the Judoon, but when we checked with Russell he watched it back and felt there was no reason why Donna couldn’t have met them before.
“What’s clearly a surprise to her is the Doctor speaking Judoon, so we were very careful not to have him doing that in front of her.”
[Above Cover for “The Creeping Death” by Roy Gill, featuring (l-r) David Tennant, Catherine Tate, and Lauren Cornelius dressed in 1952 London period-costume, holding a torch.]
Concluding this series is The Creeping Death by Roy Gill.
David explains: “We asked the writers for short pitches – I think they might have sent in three ideas each. I’ve actually been keeping a list of things I want to see in a Doctor Who story, one of which was ‘The London Fog of 1952’, so it was a no-brainer when Roy pitched that one!”
Roy was delighted to be able to write for David Tennant, a fellow Scotsman, as well as Donna.
He admits it was: “Hugely exciting. They’re one of my Doctor Who dream teams, really. The Doctor and Donna are best friends, they’re fast and funny, they wind each other up but most importantly they make each other stronger and better. Their dialogue was a joy to write – and yes please, if the opportunity ever comes up, I absolutely want to do more!”
Roy travelled from his Edinburgh home to attend the recording at Moat Studios in London, and has plenty of happy memories from the sessions.
Roy adds: “Oh, loads! David asking, ‘Is that a Scottish accent?’ as soon as he met me – and then me kind of over-explaining where I’m from (sorry, David...). Catherine cracking up over her lines about ‘bad air’ and cheese and onion crisps… How quickly all the big, exciting scenes flew by in the recording booths.
“Stephen Critchlow talking over lunch about the classic Who he’d been watching with his daughter. Lauren Cornelius telling me she’d loved her character and the story so much that when she got the script she read it from cover to cover then immediately turned it over and read it again! Theo Stevenson saying he’d watched David Tennant’s Doctor when he was about 10 or 12. He was thrilled to be in a Doctor Who – making us all feel ancient!”
Producer David adds: “This story is brilliant! Just a character piece about a group of people lost in the fog and there’s something really nasty out there… David has some terrific speeches, Catherine gets to play out some lovely relationships with the guest characters, and the whole thing feels like it was on TV back in 2008.”
Director Ken Bentley was relieved when recording was complete after three successive days in studio – which Big Finish rarely do.
He explains: “It’s great to know we have a complete box set in the bag! These days availabilities are such that we’re squeezing in recordings as and when we can, sometimes over quite long periods of time. It’s rare to record three days straight and know you’ve got it all, but given the schedule we’re all on it’s a huge relief!”
“The whole thing feels like it was on TV back in 2008.”
– David Richardson
Responsible for music and sound design is Howard Carter, who says: “I’ll usually go through and work out if there are any background or atmosphere tracks that reappear throughout the play, or any individual recurring effects (specific vehicles or weapons, for example). If so I will create these in advance and add them to the project library so they are ready to drag and drop in when I’m working. I’ll record the foley sound as I go and layer up all the relevant backgrounds and effects scene by scene. Once the full play is assembled I’ll send a draft off to the director and move on to the score.
“I will usually spend a couple of days scoring a play although if there’s more time I will always spend longer (I’m a composer by trade!). At this point I know the play well so will have a sense of the mood, style and pacing.
“If I’m working on a completely new play I’ll create a template and start adding instruments and sounds as I see fit in order to start with a completely fresh palette. Every play is different so I don’t have one fixed approach. There are scene breaks which usually need a cue, and there are sometimes musical directions in the script, but otherwise a lot of the process is instinctive. A play may need a lot of music to keep energy levels up and maintain a sense of pace, or it may need the music to really take a background role and just glue certain elements together. Each one is unique.”
– VORTEX Magazine, Issue 122, Pages 4-8
THE TENTH DOCTOR ADVENTURES VOLUME THREE IS OUT IN MAY ON CD AND DOWNLOAD.
The Tenth Doctor Adventures Volume Three is out in May on CD and Download.
The special edition release comes complete with exclusive production notes, storyboards from Mike Tucker and costume designs from June Hudson.
For full details visit www.bigfinish.com .
(Edited to include Lauren Cornelius’ name in the image description of “The Creeping Death” cover.)
