STORY PLOTLINE
The Doctor and Ace head for the Psychic Circus on the planet Segonax, where they meet a disparate group of fellow visitors including a pompous explorer named Captain Cook and his companion Mags and a biker known as Nord.
The Circus itself is dominated by the sinister Chief Clown and his deadly troupe of robot clowns, who organise a talent contest in which all visitors take part. However, the audience consists of just a single strange family - mother, father and daughter - seated at the ringside.
DVD EXTRAS
By 1988, I had lost faith in DOCTOR WHO and had become an irregular viewer as the series drifted like the uncontrollable sand being blown across the programme’s seminal arid location in Dorset. The magic, for me, had unravelled (sadly, the hideous ‘question mark’ pullover had not succumbed to the same ignominious fate) from McCoy’s first season of banality (surprisingly, Colin Baker’s final season, whilst stretched to a point of incredulity, and his characterisation was becoming intriguing and approachable), and it continued through the anniversary season.
Following the under-whelming REMEMBRANCE OF THE DALEKS, the ‘camp-fest’ that was the forgettable THE HAPPINESS PATROL, and bizarre SILVER NEMESIS, Stephen Wyatt delivered the John Nathan-Turner pre-titled four-part adventure, DOCTOR WHO – THE GREATEST SHOW IN THE GALAXY.
And this re-sparked an interest (not an obsession again, but it was start, I suppose); had DOCTOR WHO turned a corner? Re-evaluated, re-directed and re-imagined? A mix of the three, and, with hindsight, it was start of an upward trend for (more) intelligent plotlines, credible acting and a marked improvement in ‘tone’ that continued through to the final story, DOCTOR WHO – SURVIVAL.
So, having only re-watched DOCTOR WHO – THE GREATEST SHOW IN THE GALAXY once (via video cassette), how would an additional viewing upgrade a distant perception & critical analysis of it, it at all?
The production difficulties of the story are well documented but in THE SHOW MUST GO ON (THE MAKING OFF…) we are provided with a true “from the horse’s mouth” assessment of how adversity was embraced by the series’ Producer and his team to avoid a SHADA scenario and the disembodiment of Wyatt’s script (John Nathan-Turner: “…it seemed criminal…” not to complete it).
Looking afresh, this featurette is thoroughly entertaining and persistently informative that will astonish fans by the professional dedication of the cast and crew in crafting something-out-of-nothing. Script Editor, Andrew Cartmell discusses the genesis of the story, asserting that the title was “…terrible…” but accepted it as John Nathan-Turner had cut him “…a lot of slack…” whilst Director, Alan Wareing remembered that he was “…scared the life…” out of him.
Whilst he is conspicuous with his absence (probably filming THE HOBBIT in New Zealand, Sylvester McCoy’s memories are probably mirrored by that of his co-star, Sophie Aldred. Cocooned in a slightly frumpy-looking purple frock, Aldred, looking like a slightly more rounded version of Verity Lambert (the original series’ Producer) circa 1964, recalls the tuneful coach trip to the disused clay quarry for location filming, seemly endless rounds of hotel parties, and how McCoy was eventually settling in to his role (“…he loved all the stunt work he had to do…”). Special Effects Designer, Mike Tucker, concedes the same; “…it played to McCoy’s strengths…” and that the frequently vilified Nathan-Turner was “…an asset to the programme…”
Most shocking of the story’s making is the memory - or, perhaps, lack of – of actor Ian Reddington. As the villainous Chief Clown, Reddington’s grilling (sic) for this documentary reveals that he suffered a head injury that not only stole moments of his memory but several teeth requiring surgery.
In a brief yet intriguing feature, LOST IN THE DARKNESS, Mike Tucker remembers how the initial visual effects (of the TARDIS being stalked by the advertising space-bot) had to be abandoned from being included in the final Director’s cut as the innovative filming had delivered a scenes that were “…just too dark…”
Hosted by former companion, Anneke Wills, TOMORROW’S TIMES, if it had not been the hostile reaction of Fleet Street (and Wapping) to the series in the late 1990s and, specifically, McCoy, then the unequivocal disregard for DOCTOR WHO by the critics may not have produced any substantial ‘column inches’. For fans, the notable date, 5 February 1990, that will stir emotions with older fans; the date that THE SUN newspaper confirmed that both the series’ leads’ Contracts were not to be renewed and effectively cancelling the series.
Now, DVD EXTRAS are notorious for being ‘hit-and-miss’ and for DOCTOR WHO – THE GREATEST SHOW IN THE GALAXY this is the case. There are three inclusions that are, frankly, inconsistent and do not warrant your attention. THE PSYCHIC CIRCUS is a like rusk in a sausage; valueless filler, and REMEMBRANCE “DEMO” is wholly self-indulgent, and VICTORIA WOOD SKETCH is plainly dull.
The COMING SOON trailer is PLANET OF GIANTS; thrilling, Yes, thrilling.
Overall, the DVD EXTRAS are, generally, balanced, structured, and inspirational.
The DVD Commentary Highlights.
Toby Hadoke is the seminal Ringmaster (I think that’s spelt correctly) is joined by Sophie Aldred (Ace), Christopher Guard (Bellboy), Stephen Wyatt (writer), Mark Ayres (Music) and Andrew Cartmell (Script Editor) for a lively, informative (frequently revealing) and engaging commentary.
On scenes inside the TARDIS, Stephen Wyatt: I tried to get those TARDIS scenes out as they were the only TARDIS scenes in the whole series (read: story). I thought that they were terribly flat when everything else had these amazing visuals.
Sophie Aldred: I’m glad that they weren’t cut as it gave me an opportunity to being the TARDIS and to wear Tom Baker’s DOCTOR WHO scarf. Almost relaxing scenes that are very rare in DOCTOR WHO.
On series Producer John Nathan-Turner’s “Unit 2” location filming, Christopher Guard: We hauled him out of the pub to direct this scene. Look at this kiss. John was very keen on the kiss. Almost cinematic.
Sophie Aldred: JNT ran a tight ship.
On scoffing the Stall-lady’s dessert, Sophie Aldred: That’s a mix of sweetcorn and custard. Don’t try that at home, kids. Now the Doctor eats Fish Fingers and Custard.
On filming in the Elstree Studios’ car park, Sophie Aldred: We were fighting against the odds. The Dunkirk Spirit.
On the costume of Mags (the human-werewolf), Christopher Guard: Why the fishnet stocking, Jessica?
Jessica Martin: Why not?
On the Chief Clown, Stephen Wyatt: The presence was so powerful.
On the troubles affecting the story, Toby Hadoke: It was actually cancelled at one stage.
On John Nathan-Turner’s talent spotting, Mark Ayres: John was brilliant like that. Pleased to give people a chance.
Christopher Guard: He knew the value of taking a risk.
On subtle plotlines, Stephen Wyatt: There was a love triangle between the Ringmaster, the Chief Clown and the Tarot Card Reader.
On her werewolf costume, Jessica Martin: Very uncomfortable to wear – lenses and “goo”.
On design nuances, Mark Aryes: All the clown masks are a mould of Ian (Reddington) face.
On the explosion from the main tent as the Doctor strolls away, Sophie Aldred: He felt the heat on his bum.
In re-viewing DOCTOR WHO – THE GREATEST SHOW IN THE GALAXY nearly 25 years later it is remarkable how confidently it withstands closer scrutiny and that the failings that you may have had are inconsequential. It’s an enjoyable story, darker than you may recall with subtle wit rather than broad humour, but it is of its time.
It may not be of everyone’s taste, especially for NEW SERIES fans but for CLASSIC SERIES aficionado will relish an opportunity to re-visit the first story that seemed to realign the series as part of Andrew Cartmell’s master plan in re-implementing a new mystery within the Doctor’s character & personality.
Sadly, this new impetus had only a further four stories to embed itself before an inevitable cancellation at the hands of the BBC.
