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Cancelled!!

Doctor Who Symphonic Spectacular 2014

The two Doctor Who Symphonic Spectacular shows set for New York have been cancelled.

The shows were scheduled for 7 October 2015 at Barclays Center in New York and were to be hosted by Michelle Gomez.

An email was sent to ticket holders with the following message:

Vision Nine regrets to announce that the two Doctor Who Symphonic Spectacular shows scheduled for October 7 at Barclays Center have been cancelled.

All Ticketmaster online and phone orders will automatically be refunded. Remaining refunds will be available at point of purchase.

We apologize for any inconvenience and hope to see you at a future event at Barclays Center.

A message on the Barclays Center website states: “there are no plans to reschedule them at this time.”

I guess, selfishly, I’m glad I went to the performance at Wembly now. 🙂

Peter Davison Interview

The ‘Doctor Who Symphonic Spectacular’ star talks to Adam Sweeting about David Tennant and being happy to slag off ‘Doctor Who’

The actors who have played the title role in Doctor Who down the decades have learnt that, as the Eagles sang, “You can check out any time you like but you can never leave”. When Peter Davison signed on to play the fifth incarnation of the timeless Time Lord in 1981, he feared becoming typecast and opted to sign a contract for only three years. Yet, more than 30 years after he quit the role, the Doctor still looms large in his life.

He’s about to go out on a six-city UK tour as host of the Doctor Who Symphonic Spectacular, where the BBC National Orchestra of Wales will play music composed for the programme by Murray Gold, much of it for Peter Capaldi’s current embodiment of the Doctor.

“On the TV you have images on the screen and then you have the music in the background,” Davison points out. “Here you have the symphony orchestra on stage and the video clips in the background, so the focus is reversed. The music is great and it’s very powerful. It’s mainly families and children who come to these events, and they would probably never listen to a symphony orchestra play otherwise.”

Davison was born Peter Moffett in Streatham in 1951, the son of Claude, an electrical engineer from British Guiana, and his wife, Sheila. Growing up in Surrey, he wasn’t academically inclined but shone in school plays and amateur theatricals before attending the Central School of Speech and Drama in north London. You can still see vestiges of the boyish, blond Doctor in Davison, even if he has acquired a little more weight and lost a little hair.

Despite the fact that, after our interview, he’s due onstage at the Savoy Theatre, where he’s playing Herbie in the hit musical Gypsy (which received a five-star rave from the Telegraph’s theatre critic), he seems to have all the time in the world to reel off actorly anecdotes. A couple involve David Tennant, who not only played the 10th Doctor from 2005-10 but is also Davison’s son-in-law, having met his daughter Georgia when she appeared (as the Doctor’s daughter) in an episode of the series in 2008. They married three years later.

“David didn’t ask me for any tips on the role, but I took my two sons to the filming of his first episode in London, and he was fantastic, very nice and very welcoming,” Davison says. “Later on things changed when he married my daughter, and that is rather weird. I don’t know if either of us have really come to terms with it. But I think he did a great job in the show, and I do like the fact that I was ‘his’ Doctor Who when he was growing up.”

Although fate has decreed that Davison and the Doctor must remain umbilically linked, his CV is still like a mystery tour of 40 years of British television. Even before Doctor Who, he’d become a national favourite as daft-as-a-brush Tristan Farnon in the BBC’s vets series All Creatures Great and Small, and his credits stretch from A Very Peculiar Practice to At Home with the Braithwaites and ITV’s Law & Order: UK.

“I moved on quite easily from Doctor Who, but I’ve always been happy to do anything that was to do with it,” he says. “But Tom Baker, who played the Doctor before me for seven years, had to close the door for a good number of years. He wouldn’t do any appearances or talk about Doctor Who, because he just wanted to get rid of it.”

Davison often attends fan conventions and has made Who-related documentaries, not least his self-directed The Five(ish) Doctors Reboot, a comic account of several ex-Doctors trying to get roles in the 50th anniversary special, which was included in a “collector’s edition” box set. He particularly enjoys getting together with Janet Fielding, who played his on-screen companion Tegan, to record commentaries for DVD releases of vintage episodes. These have become celebrated for their satirical tone, with the pair happy to ridicule crude special effects or the overuse of the Doctor’s “sonic screwdriver”.

“We just sit there slagging the programme off, and the fans love it,” he says. “I kept saying to Janet, ‘We’d better tone it down a bit’, but you meet the fans and they go, ‘We loved that commentary because you’re so rude about the programme.'”

The Doctor Who Symphonic Spectacular, with its video clips of the various Doctors and walk-on appearances by such fabled adversaries as the Cybermen and the Daleks, has grown out of the Doctor Who Prom, which made its debut at the Royal Albert Hall in 2008. It’s making its first UK appearance after sell-out tours in Australia and New Zealand.

“I introduced a segment of the 2013 Doctor Who Prom onstage,” Davison says, “and I think because it went down rather well they said, ‘Do you fancy doing a tour of Australia?’ Doctor Who has always had a very high profile in Australia, and the 50th anniversary of the first-ever episode was while we were out there.”

Davison reckons the fundamental essence of Doctor Who hasn’t changed since his day, but following its relaunch in 2005 under the guidance of writer Russell T Davies, the once-ramshackle show, famous for wobbly sets and absurd costumes, has been transformed by generous budgets, cutting-edge computer effects and far more ambitious writing, with fanatics Steven Moffat and Mark Gatiss now adding their idiosyncratic expertise to the mix.

Back in the Eighties, Davison recalls, “we were sold to 39 countries and we earned the BBC a lot of money, but all we got was budget cuts.”

He makes a point of keeping up with the revolving door of Doctors.

“I interviewed Peter Capaldi for a documentary, and he said, ‘I just wanted to play it like I didn’t know if the human race was worth saving. Why has the Doctor been running around for the last 50 years trying to save the human race?’ I thought it was a very interesting take, but again he’s a huge Doctor Who fan.”

Unlike (11th Doctor) Matt Smith, it seems. “Matt had never seen the series in his life! I had lunch with him at Steven Moffat’s house and he said, ‘When the Doctor meets his enemies, why doesn’t he just kill them?’ Steven sent him away with a huge carton of Doctor Who videos and said, ‘Watch these.'”

Meanwhile, Davison is looking for fresh challenges, like his role in Gypsy, the classic Jule Styne/ Stephen Sondheim musical based on the memoirs of striptease artist Gypsy Rose Lee. He’s such a familiar TV face that his stage career is often overlooked – his first professional job was at the Nottingham Playhouse, and he’s done his fair share of Shakespeare and Stoppard – and in his mid-60s, he has suddenly found himself turning into a song-and-dance man. He played King Arthur in Spamalot and Prof Callahan in Legally Blonde, opposite Sheridan Smith.

Davison claims modestly that “I don’t think I have a particularly pleasant voice, rather gruff and husky”, but he can claim some authentic musical credentials. He plays guitar and piano and has even composed TV theme tunes, including the title music of the children’s classic Button Moon.

He is modest, too, about his career. He suggests he got the role in All Creatures Great and Small because he happened to look as if he could be co-star Robert Hardy’s brother, and suspects he was cast in At Home With the Braithwaites because “they had this rather unpleasant character so they thought, ‘Let’s get someone who plays nice blokes and whom the audience will like.'”

He did go a bit quiet in the Nineties, but, nevertheless, his career batting average is a thespian marvel. He came out of drama school with the motto “never do a soap opera”, and it has served him well. Does he share the widespread actor’s terror of not working?

“I suppose I don’t, because I think you get to a certain point and you can always work,” he says. “It’s a question of whether that work is a slow spiral into oblivion over a number of years. But I hit retirement age next April so I’m not really worried about much really, except how long I can keep going.”

Doctor Who is a British superhero

It’s been 31 years since Peter Davison put down his sonic screwdriver, Tardis key and celery stick and regenerated into Colin Baker.

He will now get the chance to come face to face with some of the Timelord’s most feared adversaries again when he hosts the Doctor Who Symphonic Spectacular at the SSE Hydro next week.

Davison, who played the fifth incarnation of the Timelord, was asked to host the spectacular, which combines Murray Gold’s music, played by a live orchestra, with some of the show’s favourite monsters, after introducing a segment at the Doctor Who Prom in the Royal Albert Hall. He toured Australia and New Zealand with the production before bringing it to Scotland for the first time.

He said: “The show is a bit of everything really. At its heart it’s a symphonic concert but behind the stage we run various clips and we have Doctor Who aliens and monsters creeping around the auditorium, sneaking up on you and I introduce pieces of music and have a bit of a joke.

“I think hearing a symphony orchestra play live is something really special. I just love the idea of these families coming along who would never go to an orchestral concert and hearing the power of that music being played.”

Davison took over the role of the Doctor from Tom Baker in 1981 and played the part for three years.

However, despite the BBC hit sci-fi show’s cancellation in 1989, he knew it would return.

He said: “I always thought it would come back because it was such a brilliant idea and it had been successful for so long and the fans are so devoted. I didn’t anticipate it would come back in the way that it did as the BBC’s number one prestigious show so that was a surprise but it was very nice because the first producer Russell T Davies was a big fan.”

The show began in 1963 and Davison believes the key to its longevity has been its creativity.

He said: “He’s sort of a British superhero. He doesn’t fit the mould of American superheroes, he doesn’t have special powers but he’s definitely a force for good.

“It’s such a wonderful idea and the scope of the programme is enormous. The genre of science fiction, love it or hate it, means you can tackle virtually any story in virtually any period of time. I think that’s been the secret of its success, it’s inspired creative parts of people’s brains.”

Davison has returned to the role a few times, appearing in the 1993 Children in Need special Dimensions in Time, 2007’s Timecrash with son-in-law David Tennant and the Five(ish) Doctors, which he wrote for the show’s 50th anniversary as well as numerous Big Finish audio adventures.

He has even influenced the new show, which returned to screens in 2005, with many people who work on it, including current showrunner Steven Moffat, saying he was ‘their Doctor’.

He said: “It’s great. I myself was influenced by an earlier Doctor. Patrick Troughton was my Doctor and he had an element of vulnerability which I wanted to bring back into the show and I think that’s something that people identify with.

“A lot of people have come up to me and said Doctor Who helped them through a difficult part in their childhood. I think he’s a great role model.”

Davison’s also a big fan of new Doctor, Peter Capaldi.

He said: “I like his portrayal enormously. I interviewed him for BBC America before it went out and he had some great ideas. He wanted to do a slightly different take and his was that his Doctor wasn’t entirely sure that the human race was worth bothering with. Obviously, in the end, he does but it’s an amusing take.”

However, he does not believe that the show is becoming too scary for children.

He said: “I think adults are the last people who can judge whether Doctor Who is scary, they have no qualifications at all. What we think our children find scary, they find tremendously exciting and invigorating. There are bound to be some people who are a bit scared and they might even have the odd nightmare and of course that’s unfortunate but it comes out of loving the series.

“It’s always had that effect really. In my day there were children who used to spend the entire series watching the programme from behind a sofa.”

The Doctor Who Symphonic Spectacular will visit the SSE Hydro in Glasgow on Friday, May 29.

My Close Encounter with a Dalek

At Wembly Arena, May 23rd 2015. 🙂

oh and Then there was Peter Davison:

Home

I am now home. Tomorrow it’s back to the grind of reality.

What a time I had though.

I went to The Doctor Who Experience in Cardiff last Wednesday and saw the new Capaldi version of the “Experience” and the re-modeled Archive Display.

Still one of the best things to do ever, as a Doctor Who Fan.

Then the Symphony at Wembley Arena was in all words, Spectacular.

It was a very emotional night and a beautiful thing to see and hear.

Peter Davison had some more fun with himself and he good-naturedly pick on Colin Baker (his successor as the Sixth Doctor).

I was kind of underwhelmed by the monsters running in the audience but have a feeling that has more to do with the limitation of the venue but at one point being 12 feet from Dalek that looks right at you, that was a thrill. A Cybermen can even closer, as did a Dream Crab headed individual.

Both the Experience and the Symphony were Capaldi-centric but they hit a lot of heights.

If you get the chance, go for it. You won’t be sorry.

More to come as I get more sleep and process my hoard. 🙂

Simply Spectacular

I was at the Doctor Who Symphonic Spectacular at Wembly Arena yesterday.

That was one hell of a good show.

Now it’s time to go home… Back to Reality…

Just a taste…

The Man with the Gold touch

The Telegraph:

Doctor Who Symphonic Spectacular: Murray Gold interview

As the tour begins, the prolific TV composer speaks to Benji Wilson about putting the ‘ooo’ in Doctor Who

Doctor Who director Murray Gold Photo: Photo Copyright John Chapple / http://www.JohnChapple.com
 By Benji Wilson

Murray Gold and I are singing at each other in a manner that I later realise is both slightly embarrassing and impossible to recreate in print. The subject is the Doctor Who theme tune. In 2005, when the sci-fi series was resurrected by Russell T Davies, Gold was asked to spruce up the famous opening. So how, I say, do you improve upon “Dun-der-dun, der-dun-der-dun, der-dun-der-dun, der OOO WAAA WAAAAAA?”

“The simplicity of that tune is what makes it so easy to change,” says Gold. “The only thing that’s annoying is that glam rock triplet beat, which makes it sound like The Sweet. As soon as you add drums to that you end up with a party tune from the Seventies. That’s why I broke that up on series one.”

Gold’s BBC paymasters evidently liked what he did, because he has been writing all of the music for Doctor Who ever since, including a second reworking of the theme tune in 2011. Although he is a prolific and successful composer – most recently he wrote the music for Last Tango in Halifax and The Musketeers – he describes Doctor Who as his main employment. His trademark, at least on Doctor Who, is epic, stirring anthems that drive the action forward while remaining eminently hummable in the playground the next day.

He says that his girlfriend “can’t stand” the programme and that he rarely meets people who like it in his daily life spent between New York and Los Angeles. Gold, 46, is a Doctor Who devotee and it’s an affection that stems back to his Seventies boyhood when he was obsessed with Tom Baker’s incarnation of the Time Lord.

“I get very sentimental when I talk about Doctor Who – he’s like an intergalactic Atticus Finch. It’s one of the last great morality tales out there but it also celebrates life. For that reason I think it’s a great show for kids. I couldn’t write this much music for it if I didn’t feel that way.”

The Doctor Who Symphonic Spectacular, hosted by the fifth doctor Peter Davison, takes this music around the world, and is touring the UK next month.

“We do it with the National Orchestra of Wales, plus a big choir, huge screens, monsters, the works – there are 150 people on stage. It’s anthemic music, so the emotional pitch of the show is like a rock gig. Because Doctor Who’s a geeky sort of show – one that celebrates wit and humour, rather than brawn and power – it’s a congregation of people who are revelling in their underdog status. I like that.”

As a TV critic, I tell Gold, I have heard several comments saying that certain TV series seem to have too much music, or that it is too loud and overbearing.

“Some people definitely have a language/music thing where it’s difficult in their brains for them to deal with both. I can’t play the piano and talk to somebody at the same time. A lot of people can. I think the people who say the music is too loud are expressing a subjective viewpoint and that is how they hear it – it’s a difficulty of processing the logic of language with the emotive language of music simultaneously.”

Gold is a funny, mischievous, self-deprecating presence. He characterises his path to his pre-eminence among screen composers as a matter of luck and good timing. He never attended music school, instead relying on piano lessons “from Mrs Winifred Ayling in Portchester”. Having taught his grandma, she refused on principle to raise her prices and charged him 25p per half-hour. He ended up at Corpus Christi, Cambridge, and immersed himself in theatre, becoming music director of Footlights after writing both plays and the music for them. Continuing in a similar vein after graduation, he got his big break when he met the director Marc Munden, who recommended him for the BBC’s 1998 adaptation of Thackeray’s Vanity Fair after turning him down for a previous gig. The result was one of the most innovative TV scores of the past 20 years.

“That score came about after Marc and I had been sitting around saying, ‘Well, this is about the death of the middle classes, this is about a bourgeois disaster and a woman claiming her stake in middle-class society – so let’s try to make it Brechtian, let’s try and make it a bit Kurt Weill’.”

“The BBC did get concerned about what was going on,” he admits of his decision to employ amateur musicians to record the soundtrack. But while the score was pilloried in some quarters, it got Gold noticed. The first of four Bafta nominations for Best Original Television Music followed.

The writer Paul Abbott (State of Play, Shameless) was an admirer, and suggested Gold to the television producer Nicola Shindler and writer Russell T Davies, who were looking for a composer for their new series, Queer as Folk, about a group of young gay men in Manchester. Gold became both Abbott and Davies’s composer of choice, creating the music for this and subsequent landmark dramas, including Clocking Off and Shameless.

“I came of age when a group of social realist, British, particularly Northern dramatists were coming into their own. Somehow I became their flagbearer,” he says. “I would write their anthems. There was so much passion in the first season of Shameless, so much fantastic stuff in Clocking Off. There’s nothing better than some of those shows I’ve worked on. America can’t come close. They’ve got a grit and an honesty about them.”

His method appears to be that he doesn’t have one, although when he stumbles upon a good tune he will try to find a place to use it.

“A lot of the time it’s just because I’ve been listening to something and I want to make some music like that,” he says.

For Doctor Who, however, he took a different tack, composing some of the music for the recent Doctors based on the actor’s personality.

“A lot of the music for Matt Smith and Peter Capaldi was written even prior to script; it came up through just watching the new actor in other things he’d been in.”

How would Gold describe these actors’ defining traits?

“Capaldi is direct, to the point, abrasive. Whereas Matt was gangly, awkward, eccentric. David Tennant was passionate, buccaneering. Sometimes parents tell me their kids can listen to one bit of music and know not only what doctor it is but what episode it’s from. That’s the highest praise.”

The Doctor Who Symphonic Spectacular tours the UK from May 23

And will be in New York City Later this year.

Spectacular, American Style

image001

BBC Worldwide North America is bringing yet another incredible Doctor Who experience to the U.S. in the shape of the Doctor Who Symphonic Spectacular, a live show, which sold out when it premiered in Australia!

It will be staged for the first time in the U.S. at Barclays Center in Brooklyn, New York on Wednesday October 7, 2015 and is produced and presented by Vision Nine. The Doctor Who Symphonic Spectacular will be one of the headline events of New York Super Week, which takes over the city October 5-11 in the lead-up to the main event New York Comic Con, taking place October 8-11 at the Javits Center.

The show will be hosted by actor Michelle Gomez who portrays Missy, the latest incarnation of the Doctor’s arch-nemesis the Master. She first appeared on-screen in 2014 and returns to Doctor Who in the new season scheduled to air on BBC AMERICA this fall. “I was a big fan of Doctor Who before I joined the cast,” says Gomez, “and I love Murray Gold’s powerful and emotional soundtracks for the series. This live show has been a big hit with fans of the series in other countries, and I know that Doctor Who fans in North America have been waiting for their turn to see it.

“I’m so excited to be presenting the first-ever American performances, and to be doing this in the city that has become my home.  I can’t wait ’til this fall to see how the amazing U.S. audience reacts to the show being staged in the Big Apple.  I’m honored to be a part of it.”

The Doctor Who Symphonic Spectacular, which celebrates the world’s longest running science fiction TV series, features the captivating and award-winning music of Murray Gold who has composed for the series since 2005.  The show will feature over 100 musicians and singers under the talented conducting baton of Ben Foster (conductor, The Theory of Everything).   Fans can expect to see some of the Doctor’s most fearsome adversaries live on stage including Daleks, Cybermen, Judoon, Whispermen, and more.  The live performance will be accompanied by a big screen presentation of key moments and specially edited sequences from the past decade of Doctor Who.

Tickets will go on general sale via the venue box office and website at 10am on Friday, May 8, 2015, with prices starting at $50.50 per ticket. More information about the show and tickets can be found on the official website at www.doctorwhosymphonicspectacular.com.

The performances are on Wednesday, October 7,2015, at the Barclays Center, 620 Atlantic Avenue, Brooklyn, NY 11217, USA, at 3:00pm afternoon matinee and 7:30pm evening performance. The suggested age is 6 years upwards, a recommedation based on the nature and duration (two hours) of the show; younger ticketholders will be admitted, but children must be accompanied by at least one adult.

Simply Spectacular

It’s been 35 years since Peter Davison signed on the dotted line to become Doctor Who‘s then-youngest ever lead, at just 29 years old.

In the years since he played the first incarnation of the Time Lord, Peter has remained very much part of the Doctor Who world – and next month, he’ll be hosting a special concert tour celebrating the show’s iconic soundtrack.

Davison spoke to Digital Spy about fronting the 13-date Symphonic Spectacular, whether he’ll ever play the Doctor on-screen again and if the rumors about a ‘Five-ish Doctors Reboot’ sequel are true.

Doctor Who Symphonic Spectacular

© Lucas Dawson

For fans who are unfamiliar, what can we expect from the Doctor Who Symphonic Spectacular?
It’s the music of Murray Gold, that he’s written for the series – a fair part of it is the music he’s written for Peter Capaldi’s series, but there’s also music from earlier Doctors.

It’s a shift in focus – when you see it on the television, the music is in the background – here, you have a symphony orchestra on-stage playing the music and you have clips in the background.

But also we have various creatures from Doctor Who wandering around the auditorium – and sneaking up on people when they least expect it. At one point, the Daleks try to take over the show – and I have to come on and save the day with a cup of tea!

So it’s a fun thing – and I come in and introduce the various pieces of music, with a little anecdote or two!

Doctor Who Symphonic Spectacular

© Lucas Dawson

Doctor Who has taken you many places – but did you ever expect to be hosting an international arena tour?
No, not at all – I was asked in 2013 whether I would introduce a segment at the Doctor Who BBC Proms night – and I was slightly worried that I’d go out there and people wouldn’t know who I am!

But they did fortunately because what’s happened since the series came back is that fans have gone back and rediscovered the older series – and they’re very forgiving about the effects, I have to say!

They’ve rediscovered it, so they do know who you are – and they know what we look like now, so they’re not appalled when they see us! But no, I never would’ve dreamed I would be doing this. It’s great fun though!

Doctor Who Symphonic Spectacular

© Lucas Dawson

Do you think the music from ‘classic’ Doctor Who – and the work of the Radiophonic Workshop – gets enough credit?
In a way, I do – they were hugely important to the show and the music for what’s now called the ‘classic’ Doctors is absolutely iconic. When the series came back, they decided to go with a more orchestra-based type of music
 the music that was written by the Radiophonic Workshop was more incidental music, in the way it was put together.

They weren’t so much ‘compositions’ as they were wonderful
 ‘tone poems’ almost. It was equally as important as the modern music, it just doesn’t lend itself quite so handily to doing a concert. But I wouldn’t downgrade the importance of the Radiophonic Workshop at all – still now, you just have to hear that music and it immediately takes you into Doctor Who – it was very iconic music.

Peter Davison

© BBC

You’re still playing the Doctor – on audio for Big Finish Productions. How has playing the part changed since the ’80s?
It doesn’t really change – you just do it. Obviously you are older so it probably has changed from the way we were on the telly – but I don’t think about it.

I just play it as I probably would do now if I was appearing on the program – and we get some great scripts for those Big Finish shows, so it’s a pleasure to do.

We do them very quickly, that’s my only problem with them. When fans ask me about a certain Big Finish story, I rarely can remember which one they’re talking about – although I love doing them at the time!

You reprised the role on-screen for 2007’s ‘Time Crash’ – would you ever do something like that again?
Yeah, if they came up with a good enough reason why we don’t look exactly as we did when we left the series. That was a very clever script from Steven Moffat – with the 10th Doctor remembering the 5th Doctor, but also David Tennant remembering watching me on the TV – so it worked on two levels.

But that’s always been the problem with regards us older Doctors returning – theoretically we should look exactly the same, as we did. Of course, we don’t – as time has passed, cruelly!

If someone could come up with a good enough reason, then I would love the idea – but I’d never push it. I never thought we would get a look in at the 50th – and that was fair enough, I think.

'The Five(ish) Doctors Reboot'.

© BBC

You had a brilliant retort to that, with ‘The Five(ish) Doctors Reboot’ – did you expect that to get such a big reaction?
Not as big as it did, no. I was very worried early on because I’d said that I was making something – and then I thought, well now I’ve got to come up with something good!

I’ve never worked so hard in my life as in that year – because I was writing the thing at night and we’d film something the next day… it was odd days here and there because everyone’s availability was very limited, but in a way that’s what made it so great.

Sylvester was in New Zealand – which gave me the idea to write a scene with Peter Jackson in it. We sent it to him and he loved it – so everything kind of fell into place.

I think I knew from my point of view that it had worked out
 better than I’d hoped, really – but I didn’t know what the fans would think. You have to appreciate the joke – and I suppose they could’ve taken it quite badly, because we were sending up a lot of it. But the fans like that.

On the night that it went out, I remember we were all at the big 50th anniversary convention and I sat around the bar with Colin and Sylvester – and we were just seeing all these tweets coming in, and comments from the fans, saying it was brilliant – and we sat up til literally 1.30am, really excited, because it was just going down so well, much better than we thought it would!

'The Five(ish) Doctors Reboot'.

© BBC

There’s been talk of a sequel – will it ever surface?
If I came up with a good enough idea. There are two problems, really, in my head. I wouldn’t want to do it if it was half-hearted and nowhere near as good as the other one, so it would have to be a good enough idea.

The other problem – and it’s a fairly major one – is we had probably the best cast you can imagine. Literally everyone said yes – with one exception – and it’s very difficult to imagine getting that cast together again
 and not paying them!

I couldn’t really ring up people and ask them to do a day for no money at all – their patience might run out! So if I did come up with a good enough idea, I’d then have to figure out a way of actually paying them some money!

All these things are not impossible, but I wouldn’t even want to go down that road unless I thought it could be better!

Would you like to write something else Doctor Who-related – maybe a Big Finish audio?
I’d like to try – I don’t know if I could do it. I find that I instinctively don’t believe that I can do something – and then when I sit down and put my mind to it, things fairly often fall into place. But it’s not an easy process – it’s not like my brain is bubbling with ideas.

Sometimes if I sit down in front of a blank page, things fall into place – and, like what happened with ‘Five-ish Doctors’, once you start getting excited about a thing, then your brain goes into overdrive. So I’d lIke to do these things
 but I’m instinctively a very lazy person!

The Doctor Who Symphonic Spectacular starts on Saturday, May 23. Tickets can be bought at doctorwhosymphonicspectacular.com.

Musical Invasion

Arguably, the original Doctor Who was all about sound effects (even the famous theme was a pioneering experiment in electronic acoustics) while the modern, revived show is all about music.

But even hardened fans of the television programme would have been challenged to imagine that music ever being performed by the New Zealand Symphony Orchestra to open the New Zealand Festival.

Doctor Who concerts have been in existence since 2006, growing to headline the Proms in Britain and even travelling to Australia, and last night was Wellington’s turn.

A mixture of bombastic anthems and haunting themes were performed by the NZSO with appropriate exuberance and complete authenticity.

New Zealand soprano Anna Pierard, tenor Oliver Sewell and child soprano Mia Vinaccia visibly moved the audience with several choral pieces, not an experience normally expected from a science-fiction TV show.

But these events, not merely concerts, have always been intended as family multimedia events, and kids of all ages – many in costume – were hypnotised by clips from the series on a huge screen hanging above the orchestra.

The appearance of actual creatures from the programme looming across the stage and stalking the aisles created an excited stir among the audience – particularly the Daleks, timidly stroked by reverent young fans as they glided menacingly past.

Charged with pulling all this self-professed mayhem together was the fifth Doctor, Peter Davison.

He proved his mettle from the outset when forced to reassure the audience while technical difficulties delayed the beginning of the show by 15 minutes: “Keep calm”, he intoned “I’m the Doctor”.

In keeping with his cricket- obsessed portrayal of the Time Lord, many cricket references were made during his entertaining asides, even enviously referencing Brendon McCullum to the audience’s loud approval.

One of the world’s most famous themes brought the concert to a rousing end, gaining a well- deserved standing ovation.

Doctor Who may be just a television programme to many, but if events like this can interest children in live music and the classics from an early age, then that is worth applauding. (The Stuff NZ)

And I think that is the best thing about these concerts. As I have said before, I was raised going to classical music concerts myself and it do me any harm. 🙂

The Lafayette,Missouri High School Orchestra (I never had an orchestra in high school!)

And they sure as hell wouldn’t be doing this kind of music!

Fort Worth Youth Orchestra  String Quartet

The First Radio Time Cover  50 years ago! (1964)

The Radio Times article about Marco Polo, published in the edition dated 22-28 February 1964. Picture: Radio Times