Adapting the iconic ‘Doctor Who’ series for the stage would be an ambitious project for any theatre company, let alone a university one – with the elephant in the room being the recreation of the expansive, ‘bigger on the inside’ Tardis. I am pleased to write that Ooook! Productions’ adaptation is a marvel, a wonder-inducing showcase of student creativity and talent!
Harry Threapleton’s astute and hilarious adaptation combines the episodes of ‘The Runaway Bride’ and ‘Partners in Crime’, from David Tennant’s turn as the Tenth Doctor, engagingly moving between the plot of The Doctor and his companion Donna investigating the suspicious Adipose Industries and their adventures in their first meeting. Threapleton also makes clever use of the time travel aspect of Doctor Who, with Durham-specific references to Jimmy’s and DST appealing warmly to the audience.
Immense praise is in order for the production and technical team – led by production manager Hamish Campbell – as all elements of set, lighting and music come together to make the show a real delight for the senses. Production Designer Carrie Cheung and Steph Roarty’s glorious recreation of the telephone box and the Tardis’ inside is a must-see, attentive down to the small details of the bubbles floating up and down the green-lit middle. The variety of wonderful set pieces and props are perfectly complimented by George Murray and Mythilli Pagedar’s evocative lighting design, with the use of revolving lights and projected patterns immersing the audience within the Tardis’ motion of travelling, as well as amplifying the comedic moments of the adaptation. Moreover, Jacob Marshall’s sound design brilliantly completes the comedy of the piece, with excellent choices such as the exaggeratedly emotional underscoring during the Doctor’s “I am the Doctor” speech, enabling Horatio Holloway’s Doctor to garner many laughs from the audience. Credit must also be given to stage manager Aaron Lo, assistant stage manager Leo Ball and deputy stage manager Amy Rettke-Grover who had the integral responsibility of manoeuvring the large set pieces. Although I would’ve liked to see more consistency in whether lighting or music was used to cover the transitions, the lengthiness of these was necessary.
Furthermore, the cast does great justice to the TV series with their delightfully accurate characterisations. Horatio Holloway and Grace Heron have a lovely chemistry as The Doctor and Donna, veering between the characteristic animosity and affection which any lover of the television series will be excited to see come to life. Horatio Holloway brilliantly captures the enthusiastic and loveable spirit of the tenth doctor, filling the stage with his energy and astutely recreating David Tennant’s hand gestures and posture, making him a joy to watch. Grace Heron is similarly excellent and entertaining as the confident and commanding Donna, creating much comedy with her unimpressed reactions and well-controlled descent into Donna’s characteristic shouting, as well as her heartwarming moments of quiet emotion.
The multirolling directorial choice is employed to great effect and enables the comedic talent of the actors to shine. The many moments of ensemble-made comedy – such as the hilarious santa scene- are some of the best scenes in the show. Emilia Lewis plays the perfect, stereotypical villain in her roles as The Empress of Racnoss and Miss Foster, employing a piercing, villainous voice and slow, spidery movements as the Empress, in contrast to the more humanoid creepiness of Miss Foster. A particular design highlight is the brilliantly chosen costume for Lewis as The Empress, adding a comedic extravagance to the character’s position as the spider queen. Nick Lemieux has wonderful facial expressions as Donna’s loveable Grandad Wilf, drawing cheers from the audience when he waves goodbye to his granddaughter. Laurie Davidson’s Tom is a highlight of the show, serving as a great source of increasing comedy with his endearing attempt to sell doughnuts, contrasting Davidson’s hapless turned villainous character of Lance, Donna’s fiancée. Nell Hickson’s multirolling throughout the show is also notable, having comedic relatability as the office worker, in contrast to her terrified reaction to the Adipose when playing Stacey where she paired wonderfully with Lex Irish’s pernickety Roger. Irish and Hickson provide particular hilarity in their attempts and failures to be suave security guards for Miss Foster, earning well-deserved laughs from the audience. Maariya Khalid is also entertaining and endearing as the concerned young journalist Penny, excelling in the repeated motif of Penny’s comic frustration at being left behind.
Last but certainly not least, I must compliment the directing choices made by Harry Threapleton and his assistant co-directors Charlotte Walton and George Thomas. The show demonstrates their innovative sense of vision and skill. The choice to have so many immersive elements in the show is truly engaging and exciting for the audience, with the endless surprises making it greatly enjoyable to be transported into the world of Doctor Who. Furthermore, the creative use of a variety of stage (or in-audience) levels for the actors ensures that the show is always visually interesting, meeting the challenge of creating a multitude of settings and navigating the set pieces. Overall, Ooook! Productions’ recreation of ‘Doctor Who’ beautifully enables all elements of stagecraft to shine, a testament to the collaborative nature and creative wonder of theatre. It is an unmissable show, made to wow and excite its audience, leaving you marvelling at the talent on display at this university.
Harry Threapleton’s astute and hilarious adaptation combines the episodes of ‘The Runaway Bride’ and ‘Partners in Crime’, from David Tennant’s turn as the Tenth Doctor, engagingly moving between the plot of The Doctor and his companion Donna investigating the suspicious Adipose Industries and their adventures in their first meeting. Threapleton also makes clever use of the time travel aspect of Doctor Who, with Durham-specific references to Jimmy’s and DST appealing warmly to the audience.
Immense praise is in order for the production and technical team – led by production manager Hamish Campbell – as all elements of set, lighting and music come together to make the show a real delight for the senses. Production Designer Carrie Cheung and Steph Roarty’s glorious recreation of the telephone box and the Tardis’ inside is a must-see, attentive down to the small details of the bubbles floating up and down the green-lit middle. The variety of wonderful set pieces and props are perfectly complimented by George Murray and Mythilli Pagedar’s evocative lighting design, with the use of revolving lights and projected patterns immersing the audience within the Tardis’ motion of travelling, as well as amplifying the comedic moments of the adaptation. Moreover, Jacob Marshall’s sound design brilliantly completes the comedy of the piece, with excellent choices such as the exaggeratedly emotional underscoring during the Doctor’s “I am the Doctor” speech, enabling Horatio Holloway’s Doctor to garner many laughs from the audience. Credit must also be given to stage manager Aaron Lo, assistant stage manager Leo Ball and deputy stage manager Amy Rettke-Grover who had the integral responsibility of manoeuvring the large set pieces. Although I would’ve liked to see more consistency in whether lighting or music was used to cover the transitions, the lengthiness of these was necessary.
Furthermore, the cast does great justice to the TV series with their delightfully accurate characterisations. Horatio Holloway and Grace Heron have a lovely chemistry as The Doctor and Donna, veering between the characteristic animosity and affection which any lover of the television series will be excited to see come to life. Horatio Holloway brilliantly captures the enthusiastic and loveable spirit of the tenth doctor, filling the stage with his energy and astutely recreating David Tennant’s hand gestures and posture, making him a joy to watch. Grace Heron is similarly excellent and entertaining as the confident and commanding Donna, creating much comedy with her unimpressed reactions and well-controlled descent into Donna’s characteristic shouting, as well as her heartwarming moments of quiet emotion.
The multirolling directorial choice is employed to great effect and enables the comedic talent of the actors to shine. The many moments of ensemble-made comedy – such as the hilarious santa scene- are some of the best scenes in the show. Emilia Lewis plays the perfect, stereotypical villain in her roles as The Empress of Racnoss and Miss Foster, employing a piercing, villainous voice and slow, spidery movements as the Empress, in contrast to the more humanoid creepiness of Miss Foster. A particular design highlight is the brilliantly chosen costume for Lewis as The Empress, adding a comedic extravagance to the character’s position as the spider queen. Nick Lemieux has wonderful facial expressions as Donna’s loveable Grandad Wilf, drawing cheers from the audience when he waves goodbye to his granddaughter. Laurie Davidson’s Tom is a highlight of the show, serving as a great source of increasing comedy with his endearing attempt to sell doughnuts, contrasting Davidson’s hapless turned villainous character of Lance, Donna’s fiancée. Nell Hickson’s multirolling throughout the show is also notable, having comedic relatability as the office worker, in contrast to her terrified reaction to the Adipose when playing Stacey where she paired wonderfully with Lex Irish’s pernickety Roger. Irish and Hickson provide particular hilarity in their attempts and failures to be suave security guards for Miss Foster, earning well-deserved laughs from the audience. Maariya Khalid is also entertaining and endearing as the concerned young journalist Penny, excelling in the repeated motif of Penny’s comic frustration at being left behind.
Last but certainly not least, I must compliment the directing choices made by Harry Threapleton and his assistant co-directors Charlotte Walton and George Thomas. The show demonstrates their innovative sense of vision and skill. The choice to have so many immersive elements in the show is truly engaging and exciting for the audience, with the endless surprises making it greatly enjoyable to be transported into the world of Doctor Who. Furthermore, the creative use of a variety of stage (or in-audience) levels for the actors ensures that the show is always visually interesting, meeting the challenge of creating a multitude of settings and navigating the set pieces. Overall, Ooook! Productions’ recreation of ‘Doctor Who’ beautifully enables all elements of stagecraft to shine, a testament to the collaborative nature and creative wonder of theatre. It is an unmissable show, made to wow and excite its audience, leaving you marvelling at the talent on display at this university.