Monday, 3 February 2020

Who Reviews The Greatest Show in the Galaxy by Matt Rabjohns



“Is there no end to you weirdoes?!”

When Doctor Who reached its silver anniversary of 25 years on screen, we were treated to a very fine run of superb stories indeed. Season 25 proved to be innovative, extremely creative, and with its returning monsters given a fresh twist. A little hiccupette in the broadcasting schedule made it so the final story transmitted of Season 25 was The Greatest Show in the Galaxy, but this actually should have been displayed before Silver Nemesis. There is a scene where Ace picks up the character of Flower Child’s earring and has already been shown to have this earring on her jacket in Silver Nemesis. But broadcasting order quirks aside, this story firmly cemented its place as one of my all-time favourite Doctor Who stories ever. And I shall explain the many reasons why.

The Greatest Show in The Galaxy was also beset by several production problems too. It only made it to our screens by the skin of its teeth. Thank the good Lord that John Nathan Turner had the sense to suggest the production team set the story in none other than the BBC car park! Thus, this bright thinking on the producer’s part saved an awesome story and made certain that it reached our screens. Massive fan sigh of relief exhales from my lungs at this thought.

There is so much in this story that is extremely strong. For a start the story boats a superb score, that compliments the eerie atmosphere of the superbly scripted story. Stephen Wyatt’s script is character led, and every character has a good solid role to play. Even down to the Stall Holder native played with absolute aplomb by the late, great Peggy Mount. I can think of absolutely no other woman who could have done this small part any better justice than she did. Peggy is so absolutely delightful as the aloof and standoffish stall holder who is dead set against the goings on at the Psychic Circus, where the bulk of the story’s action takes place. She is given some truly sparkling dialogue and she delivers it memorably well.

The design of the villains of the piece, The Gods of Ragnarok, is extremely effective. The Gods being able to exist in two separate realities is a superb touch and is handled well. The God’s stone like Greek-Roman style of design leads to them being a very palpably realised threat, and they are never less than convincing. Sylvester McCoy is also given the chance to display his extra talents in the region of performing tricks and magic. There’s a rather amusing scene of him hanging upside down from his own umbrella and trying to snake out of a strait jacket!

The visual effects also come over very well, particularly the very effective Eye in the well deep in the heart of the Psychic circus. It’s an eerie little effect and adds to layers of growing fear and tension in the story too.

But what really strikes one about this story the most is the quality of the actors involved. T.P McKenna is simply the perfect choice to play the intergalactic explorer Captain Cook. His constant smarminess and vulgarity are not over the top and when the character is zombified in his final moments on screen T.P shines. His treatment of his strange alien assistant Mags is nasty and belittling and makes him one of those great characters one loves to detest.

Jessica Martin as Mags too is equally amazing. And her make up as she transforms into a werewolf at the climax to Part Three surely ranks as one of the finest scenes and cliffhangers of the season. The make up department must be given stark praise for the realism and superb look. Although I wonder how long it took to get Jessica done up so well? Anyway, the scene of the Captain using a stage moon lighting effect remains a brilliant and chilling scene, proving what superb scenarios Doctor Who always could come up with despite production and monetary short fallings.

Ian Reddington deserves to be placed high in the echelons of best Doctor Who villains ever. His turn as the fearful and creepy Chief Clown to me is little short of award winning. Every scene he is in, he dominates. He gives the character a layer of menace that is hard to emulate. A masterful delivery that makes him a standout amongst all those who have been fortunate enough to have played a Doctor Who baddy.

Rico Ross is also solid as the ill-fated Ring Master of the Circus. There seems to be something behind the relationship between his character and Morgana. Deborah Manship too is scene stealing as the Fortune teller. Both these two characters are treated to a memorable fate too, an outgoing denied to a lot of good characters in the shows history. Packaged off and vaporized is a nasty way to go, and yes the score playing through their demise adds to the impact of their departures.

Gian Sammarco is wonderful as the nerdy Whizzkid. He is so blatantly dim and portrays a devotee of the Psychic Circus almost to perfection. In fact, he does such a good job that one is a little sad at his demise in the ring. His youthful cloth headedness and naivety is wonderfully balanced.

Dean Hollingsworth again gives a delightful turn as the robot Bus Conductor. He’s given a wonderfully grating and annoying voice too and he looks brilliantly creepy all at the same time.

Of course, the chemistry too between Sylvester McCoy and Sophie Aldred also drives the show from the start. Honestly, they truly are one of the best and most assured pairings of Doctor/Companion that the show has ever had. Ace is all teenage attitude and brave grit, and the Doctor is starting to fledge into his more darker persona. The one tinged with far darker mystery and suspense than had ever been dwelt on before in the show.

I honestly cannot find a single fault with this story. It’s strongly written, every character has purpose and there are plenty of very strong character led moments throughout the story.

One must also admire Sylvester McCoy in how he somehow manages to not even flinch as his life is threatened by the exploding circus mere metres behind him at the climax of the story. Honestly that massive explosion looks all the too close for comfort and one wonders whether Sylvester had strong words for the crew after that scene as to my eyes it looks too close for comfort! But his amazing lack of expression and surprise makes the scene a classic one.

The Greatest Show in The Galaxy is everything the best Doctor Who stories should be. Creepy, unnerving, riveting and non stop from start to finish. This comes extremely recommended from me with a decidedly beefy 10 out of 10 on all counts. I must just re-iterate thank goodness this story wasn’t cancelled…yes indeed!









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