"The Shakespeare Code"

After dropping his name left, right and centre, the Doctor finally meets Shakespeare face to face. I must say that I was not enthused with the title, which alludes to Dan Brown's best-selling vowel movement, but I need not have worried. Gareth Roberts spins an exciting and very literate yarn. There are allusions aplenty to Shakespeare's works, Shakespearian academia, a quotation from Dylan Thomas and even an airing for that most groansome of Shakespeare jokes. It even starts with a balcony scene which, of course, turns into something else entirely. However, the plot itself is very easy to follow- the Carrionites, an ancient race whose science resembles arcane forms of magic, have been trying to escape their 'banishment'. Their power is based on the manipulation of words, so who better to release them than the Bard himself? Roberts's script is full of intriguing ideas and great dialogue. The grandfather paradoxes and butterfly stamping that litters time-travel fiction is deftly dealt with in the first five minutes. Impressively, Roberts makes the characters act in a manner appropriate to their time, such as the less than sensitive view of mental illness that the Elizabethans had. It is clear that Roberts has a real love and understanding of Shakespeare and his world that is evident in every word. If I have one criticism of Roberts (and it is barely a criticism at all) it is that he is the first writer who writes like a fanboy- the Back to the Future reference, especially ‘No, the novelisation of the film!’ is the most obvious example.

Shakespeare himself is wonderfully brought to life on the page, nicking quotations left-right and centre, trying to charm Martha at every turn and remaining, at all times, the master wordsmith. This interpretation is excellently realised by Dean Lennox Kelly in a hugely charismatic performance. Christina Cole is appropriately vixenish as Lillith and the rest of the cast are excellent in some very lively turns. I was surprised to see that Peter Streete was played by Matt King, despite my being a massive Peep Show fan, which shows how good his performance was. Freema Agyeman is utterly wonderful in her first trip in the TARDIS, with her infectious enthusiasm and her genuine annoyance at the Doctor's slight stand-offishness. David Tennant is wonderful as ever, but worthy of special praise is the difference in the playing of the relationship between him and his companion that the arrival of Martha brings.

The production is absolutely stunning, helped in no small way by the location filming at the restored Globe Theatre. Charles Palmer makes this a sumptuous and exciting ride deciding to make everything look bold- cinematographer Ernest Vincze makes this a very colourful looking story, working in tandem with excellent costuming and sets. There are memorable scenes aplenty- the drowning on dry land, the Carrionite spectre that appears in rehearsal and the full on swarm, Lillith’s flight on her broomstick etc. Murray Gold’s score is his best yet, a wonderfully lush and vibrant series of compositions.

William Shakespeare probably did more to make the English language respectable than any other- no other writer has contributed more words. It is fitting that the climax of this story should be the Bard closing a dimensional rift and banishing a swarm of witches using only words- as understanding a tribute as Doctor Who could have for the man and a great end to a great story.

NEXT: "Gridlock"