David ♥ Tennant

Dedicated to David Tennant, My Doctor, A Dashing, Striking, Virile, Charming, Popular, Surprisingly Handsome Chap, King of Scotland~

I'm old enough to know that a longer life isn't always a better one.
In the end you just get tired.
Tired of the struggle.
Tired of losing everyone that matters to you.
Tired of watching everything turn to dust.

- The Doctor

[Doctor Who, Episode 3.6 The Lazarus Experiment]

The Time of The Doctor - something to say


1. We all change, when you think about it, we're all different people all through our lives. And that's okay, that's good, you've got to keep moving. So long as you remember all the people that you used to be. I will not forget one line of this, not one day, I swear. I will always remember when the Doctor was me. >>> Well-done, Matt, Fare You Well...

2. 煽情做得很到位,最后几分钟亮点泪点应接不暇:Amelia和Amy的Cameo满满都是惊喜和感动。Bow Tie落地哭崩了~ Ragged Man, Good Night!

3. 剧情其实不忍吐槽…… DW Podcast点评说WORST Moffat Episode Ever,我表示同意。Matt值得更恢弘的送别,大魔王的50周年太精彩,所以我一度忘记他过去几年不知所云的糟糕剧本。能用点心来为Matt践行吗?是不是灵感和精力都被Sherlock耗尽了?

4. 英雄迟暮太虐!Time Lord不能重生就开始变老?那他们寿命有多少年?算下来小11起码活了400年+300年,简直不可理喻!前面10任Doctor加起来也才900多岁好嘛~ Moffat大笔一挥千百年就过去了…… 之前Rory也是!2000年不离不弃守护Amy的百夫长?这样的设定已经不能让我感动而是苦笑……

5. Slience竟然是忏悔牧师?那之前为啥还要格杀勿论?随便扔一句台词说是基因扭转?Clara的玛丽苏情结有完没完?整集剧情里毫无存在感,包括重生场景都被Pond完全抢戏——史上最弱Doctor & Companion关系!

6. 皮卡叔首秀已足够惊艳,(穿11的衣服)完全没有格格不入的突兀感,无法不期待属于他的12任新造型!Kidneys? I don't like the colour! Do you happen to know how to fly this thing? 这几句亮相台词绝了…… 足够fandom欢腾到S8回归!

7. 有些欣慰The End of Time不再是唯一靶子了,从此不担心整天被RTD黑+DT酸们吐槽得无力还击~ 以及,我能默默祈祷麦哥接手DW Showrunner吗?

8. VPN还是国外的好用,开着SurfEasy看iPlayer直播毫无卡顿,还能顺手截图!国内代理的英国服务器都是渣,试用了几款要么慢得出奇,要么根本通不过BBC的IP检测。

The Doctor, the Ultimate Hero - Steven Moffat

It's hard to talk about the importance of an imaginary hero,
But heroes ARE important, heroes tell us something about ourselves.
History books tell us who we used to be, documentaries tell us who we are now,
But heroes tell us who we WANT to be, and a lot of our heroes depress me.

But when they made this particular hero,
They didn't give him a gun, they gave him a screwdriver to fix things;
They didn't give him a tank or a warship or an X-wing fighter,
They gave him a call box from which you can call for help;
And they didn't give him a superpower or pointy ears or a heat ray,
They gave him an extra heart, they gave him two hearts,
And that's an extraordinary thing.

There will never come a time when we don't need a hero like the Doctor.
Happy birthday, Doctor Who.


很难去论述一个虚构英雄人物的重要性,但是他们确实很重要,
英雄人物往往包含我们自身(意识)的影射。
历史书记述了我们的过去,纪录片反映了我们的现状,
英雄人物则是我们希望成为的模样,
可是大部分(虚拟)超级英雄都让我很挫败。

而当(神秘博士)这个英雄被创作出来时,
他甚至没有一把枪,只有一把(音速)起子来解决问题;
他也没有坦克、飞船或者X翼战机,取而代之的是一个可以呼叫救助的电话亭;
他没有被赋予任何超能力,尖耳朵,热射线之类,
但他有一颗额外的心脏,他有非同寻常的两颗心脏。

任何时候我们都不会不需要博士这样的英雄!
神秘博士,生日快乐!

The Doctor: Between you and me, in a hundred words, where do you think Van Gogh rates in the history of art?

Curator (Mr. Black): Well... um... big question, but to me, Van Gogh is the finest painter of them all, certainly the most popular, great painter of all time, the most beloved; his command of colour most magnificent, he transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray, but to use your passion and pain to portray the ecstasy and joy and magnificence of our world, no one had ever done it before, perhaps no one ever will again. To my mind, that strange, wild man who roamed the fields of Provence was not only the world's greatest artist, but also one of the greatest men who ever lived.

- Doctor Who (2005), Episode 5.10 Vincent and the Doctor

Richard II Presee Reviews (Barbican)


The Mirrors 
It's surprising enough to see such a familiar figure as Tennant sporting a head of long flowing locks.

For legions of Doctor Who fans he will forever be remembered as the boisterous inhabitant of the TARDIS complete with fitted pinstripe suit, long trenchcoat and a trademark quiff.

But as Richard II he makes a stunning transformation into a flawed 14th Century monarch.

There are still tiny flashes of his cheeky persona in the odd scene, and when they appear they usually have the audience laughing.

But Tennant's performance is magnificent because, most of the time, he strikes a convincing balance of pomposity and menace - two characteristics we least associate with this actor.

This king is also slightly camp and, at times, effeminate, but in a heartbeat he can also be unscrupulous and terrifying.

Yet while the audience start off hating him then, by the end of the play they feel nothing but pity for the deposed leader.

Richard II is a ruler who makes bad decisions based on bad advice from those he considers peers.

His biggest mistake comes early on when he banishes his royal cousin, Henry Bolingbroke, who is played by an equally impressive Nigel Lindsay.

Inevitably, he eventually returns from exile to claim the throne as his own.

All of which may sound like a tale of political intrigue which will intrigue no one except Shakespeare fans, but Tennant makes this tragedy captivating viewing for everyone.

First rate productions and superb supporting casts like this turn the Bard's plays into something altogether more exciting.

But this version of Richard II also sees Tennant become a true star of the stage, as well as our TV screens.

Barbican, to January 25.



The Londonist
David Tennant's starring role in this Royal Shakespeare Company (RSC) production of Richard II will no doubt be a draw for many theatre-goers but it would be doing the production a great disservice to suggest that its success (it has already received glowing reviews from its staging in Stratford Upon Avon) lies in the "star effect". It is, quite simply, brilliant anyway.

Tennant is a natural focal point and, as the title character, rightly so. Gaunt, waif-like, self-righteous and whimsical this is no battle-ready King. His unwieldy swordplay is almost laughable and when he commits, it is to martyrdom and self-pity. Is he likeable? Not particularly. But he is pitiable, and that is key. He is neither a straightforward hero nor outright villain, and Tennant toes that line with great precision.

Nigel Lindsay cuts a powerful figure as Henry Bolingbroke – the polar opposite to Tennant's Richard. Bolingbroke is strong, defined, determined – a man who plants his feet and clenches his jaw to stoically receive the philosophical ramblings of Richard as he drifts around the stage in various bouts of self-righteousness and distress.

Michael Pennington gives a ferocious and heartfelt performance as John of Gaunt, but Oliver Ford Davies really stands out as the Duke of York. Providing balance and humour in all the right places, he is an emotional stronghold in an ever-shifting sea of allegiances. He is also a key part in one of the most successful scenes, where together with his wife the Duchess of York (Marty Cruikshank) and his son the Duke of Aumerle (Oliver Rix) they fill the auditorium with belly laughs at their portrayal of archetypal familial division.

Dynamic yet not overused, the set is the key to some magnificent staging moments. A descending metal balcony is a real triumph, setting up beautiful tableaus that impart key messages in a purely visual way. Tennant delicate, painted gold, untouchable as he stands high above his leather-clad traitors. Then covered only in a white shift, mere man again, quivering as his enemies stand over him on the floor. And finally up high once more, arms spread, long hair flowing, a clear Christ-like figure post-death.

It is a production that grows in strength as its characters weaken and fragment, leading to an emotional and well executed ending. "We look forward to seeing you again" artistic director Gregory Doran writes in the programme. It may be somewhat presumptuous, but it is not misplaced – we want to see it again already.

Official London Theatre
It is at least two hours into Gregory Doran's production before you get used to the hair. A cross-between Florence Welch and Jesus, this is David Tennant as you've never seen him before. And never will again, unless he goes the way of his Doctor Who successor and discovers his musical side in Jesus Christ Superstar.

For all the effort of his flowing red locks, it is not Tennant's appearance that gives the production its beauty. A projected backdrop of pillars and arches form the interior of a cathedral, a platform descends from the ceiling and sopranos sing from a balcony; every detail of Doran's immaculate production reflects the exquisite nature of the Bard's poetic history play.

The piece centres on the downfall of the vain king and opens to the mournful image of the Duke of Gloucester's funeral. Both Thomas Mowbray and the ruler are among those accused of his murder. But the king deals with the situation by banishing Mowbray and his accuser Henry Bolingbroke from England. Big mistake. Bolingbroke is back in no time with an army prepared to take down the fragile monarch.

The Royal Shakespeare Company has gathered a strong company of actors for what is the first production in Doran's mission to tackle the entire Shakespeare canon. From Olivier Ford Davies as the Duke of York there comes both wit and sadness, Nigel Lindsay brings menace and authority in the form of Bolingbroke and Michael Pennington gives a powerful portrayal of John of Gaunt as he lives out his final hours in defiance.

Then there is Tennant. While Richard's power diminishes, the actor only grows stronger, evoking the play's poetry through both the fluidity of his movements and the compelling nature of his speeches in which he takes every rhyming couplet and places it centre stage with effortless delivery.

There are times during the production that make you wonder why the first part of Shakespeare's tetralogy, which also includes Henry IV Parts I and II, and Henry V, the latter of which has been performed twice in London during the past 18 months, isn't a more regular sight on the London stage. The strength of its characters and the intricacies of its language mesmerises more than most of the Bard's works. But perhaps that is down to Doran's well-judged direction and the effortlessness of his faultless performers.

The Arts Desk
Richard II arrives in London after a highly successful Stratford run and while the glow of David Tennant's Hamlet resides still in the memory. Surprisingly, the pleasure of the production lies not so much in dazzle as solidity. This doesn't give a bold new reading but a robust interpretation; it is not a star vehicle (so often with the star surrounded by mediocre support) but one of the strongest company performances of Shakespeare that I've seen for many a year.

Though Richard II can easily be seen as a stand-alone play, it's actually the first of a tetralogy that includes the Henry IVs and Henry V, and director Gregory Doran works hard to put the play in that context. We have a firm sense of both the political turmoil that proceeds the action and the uncertainly of where it's headed. This is not just a warning about the ills that can befall a king who fails to responsibly manage his kingdom, it's also about the subtle contracts and traditions that hold a monarch in place; few plays show a crown taken with such trepidation.

It opens with a bold (in its length) and very pleasurable prelude: the stage is transformed into a cathedral, darkly majestic yet mournful, in which an elderly woman drapes herself over a coffin, long grey hair streaking her black gown, as a trio of sopranos sing from high above her. The woman is the Duchess of Gloucester (Jane Lapotaire), the dead man her husband, more than likely murdered on the orders of the king. Eventually the lights goes down and one, two, then a whole company enter the woman's grief. Thus Doran gives a clear impression of the historical back story, the malign actions of the king before this final chapter of his reign, which charts unfinished business between he and his noblemen.

That achieved, Tennant is let loose. Richard is a king pumped up, nay deluded by the belief that he has been chosen by God. And as he is called in to manage the dispute between two warring noblemen, Tennant's king really does seem to be descending from heaven – or, more accurately, another planet. With high-pitched, effete voice, decked out in white robes and cascading hair, cradling his sceptre in his arms, eyes distracted, he seems not to have got to grips with these pesky humans.

Yet this is more than simple flamboyance: the arrogance is comic, but also chilling, and sets Richard up perfectly for the later tumble back to Earth.

Bolingbroke (Nigel Lindsay) and Mowbray (Antony Byrne) are accusing each other of treason, each most likely covering his own back in the unstable realm. Richard seems to waver, first counselling an amicable accord, then acceding to their desire for a duel, then reneging on this and banishing the pair of them; the final outcome is probably what he wanted all along.

In thrall to sycophantic playboy cronies, dismissive of his elder statesmen Gaunt (Michael Pennington) and York (Oliver Ford Davies), regarding the kingdom as a cash cow to fuel his reign, the cynical, cavorting king is headed for a fall. Stealing the exiled Bolingbroke's inheritance is the last straw for the exiled duke and sets up a confrontation between "God's gift" and the man of the people.

While Richard's aloofness from his subjects also, aptly, keeps him slightly removed from the audience, Tennant draws him vividly towards us as the king is brought to heel. The realisation that he has lost all support to the returning Bolingbroke – one of the great turnarounds in drama – is brilliantly conveyed; his subsequent, painful reluctance to physically hand over the crown to his vanquisher (while maintaining the verbal dexterity to run rings around him) is even better. Having made such an otherworldly arse of the man at the outset, the pathos Tennant now wrings from the character is all the more remarkable.

Around him, Lapotaire is a whirlwind of righteous grief, Pennington stirs in his dying condemnation of the "landlord" of the kingdom, and Ford Davies (Polonius opposite Tennant's Hamlet) is a joy as the conflicted York, twisted every which way by his sense of duty, loyalty, tradition and pragmatism. Byrne's Mowbray, Sean Chapman's no-nonsense Earl of Northumberland and Emma Hamilton's Queen all make strong impressions.

The one stumbling block for me was Lindsay, whose Bolingbroke seems a stolid presence amongst so much guile. Much of the nuance of the play – residing, unusually for Shakespeare, in what is not said – concerns the duke's awareness that to take the crown from an anointed king is sacrilegious; Lindsay captures the caution but not the calculation behind his character's ambition. The absence of an able foil for Richard, most felt in the climactic scenes, mars an otherwise fine production.

The Upcoming
The long-awaited transfer of the RSC's production of Shakespeare's Richard II starring David Tennant has arrived. And ultimately, to cut the small talk, it does not disappoint.

Opening with the most gracefully ephemeral three-woman soprano choir, the tone is set – distinctly grand and haunting even before the doors at the end of each aisle swing shut, 08737_show_landscape_02immersing you entirely in the first act. The set is equally as triumphant, with projections of Westminster Abbey-esque architecture on floor-to-ceiling columns made up of shimmering gold threads. Although sounding intricate and imposing it works rather simply, with only a descending metal balcony and projection variations to mark scene changes.

The title role of King Richard will be the most talked of, if only because everyone's favourite Scottish Doctor Who is playing him. David Tennant, having previously played the lead in RSC's Hamlet to much critical acclaim back in 2008, shines once again in his royal role. His pale, gaunt features are ensconced in floor length gowns and highlighted by wavy, waist-length brunette locks. He could be described as a better dressed yet slightly effeminate Jesus but to put it like this would be doing the thoroughness of the costume department a disfavour.

What comes as a slight surprise is just how great all the cast are in their roles. Perhaps because the major selling point of this production is Tennant perched on a throne with a staff, we expect this to be the overriding experience of the night.

Instead we see the supporting characters give Tennant a run for his money, proving that there is no such thing as a single "star of the show". Oliver Ford Davies and Marty Cruickshank, who play the Duke and Duchess of York, serve to heighten the emotional complexity of the play with some well-timed marital humour, along with displays of extreme desperation and parental determination. The director Gregory Doran states that Shakespeare's plays provide a "360 degree view of what it is to be human"; certainly the familial aspect of this is achieved by Davies and Cruickshank.

This production is the first to mark the new partnership between the Barbican and Stratford-upon-Avon's RSC, a partnership that will see all of Shakespeare's plays performed at least once in the next six years in locations around the country. Celebrating both the 450th anniversary of Shakespeare's birth in 2014 and the 400th anniversary of his death in 2016, Richard II aims to inspire its audiences to see more RSC work in the near future – and it certainly does just that.

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