The Celestial Toymaker

The TARDIS is drawn into the realm of the Celestial Toymaker, an immortal, indestructible being who, in his dominion, is all powerful. He bids the travellers play a series of games to win the right to return to the TARDIS and leave. If they feel, the Doctor will become the Toymaker’s opponent forever and Steven and Dodo will be reduced to dolls without true life or will.

Each episode of this story is based around a physical challenge for Steven and Dodo, where they must compete against the Toymaker’s dolls who are very keen on winning themselves. This brings to mind game shows like The Crystal Maze, but with a very nasty edge. In "The Hall of Dolls", the Queen of Hearts intimates that the dolls were once people themselves and therefore they are fighting for their own existence, as well as being pawns of the Toymaker. This gives what are, basically, children’s games a very sinister edge. Meanwhile the Doctor plays the ‘Trilogic Game’ (a variation of the 'Tower of Hanoi' puzzle) which he must win in exactly 1023 moves.

The guest cast is small, but very effective. Carmen Silvera and Campbell Singer give extraordinary performances as the main dolls, managing to make their characters in each successive episode completely different- with just the audio, it is hard to believe that they are played by the same actors. Peter Stephens is fantastic as Cyril, especially the sinister schoolboy (‘Call me Billy!’). However, it is Michael Gough as the Toymaker who makes this story memorable. He plays the role with a kind of playful detachment that hints at the fact that this character is omnipotent in this world. His performance binds the story together and makes it far more than just a glorified game show.

Hartnell is absent for the middle of this story, so it is again up to the companions to carry the story. Purves is as wonderful as ever and Lane too is fine, although her accent wanders between Cockney and Mancunian! Even though his role is limited, Hartnell’s performance is subtly different. This is no ordinary adversary and the Doctor cannot afford to be flippant with the Toymaker, and the Doctor is portrayed as being more guarded throughout. The writers manage to do a great deal with very little, the sense of unease almost never being underlined by dialogue, only by situation.

From the only episode that exists, it appears that the budget was small, but good use was made of what was there. However, this story is one that relies a lot on imagery- we cannot see the Toymaker picking up the dolls from the dollhouse and them subsequently coming to life (although we do see the disturbing sight of Cyril after he has been defeated- he is now merely a broken doll on the floor). I would also love to have seen the realisation of "The Dancing Floor", as the audio makes it sound fascinating.

This story is a unique experience- fun and disquieting at the same time, with some great performances.

NEXT: The Gunfighters