Doctor Who Cuttings Archive

Who's on the Boards

From The Doctor Who Cuttings Archive
Jump to navigationJump to search


Tennant & Tate do time

Partners in time

As Doctor Who's David Tennant and Catherine Tate both return to the stage — Tennant to play Hamlet at Stratford and Tate to play a teacher in a West End comedy - Roger Foss travels back in time beyond the Tardis to discover their parallel theatrical universe

If you ask theatre director Anna Mackmin why she cast multi award-winning comedian, actress and writer Catherine Tate as sluttish middle-aged maths teacher Michelle in the carnal merry-go-round that is David Eldridge's comedy Under the Blue Sky, she says: "I'd have been a fool not too! Catherine is a very good actress. She's incredibly funny, totally unsentimental and has a huge reserve for feeling. She's a real grafter, whose ambition is all for the play and the ensemble."

When the same question was put to RSC chief associate Gregory Doran about David Tennant being the latest actor to take on Hamlet, the longest role in Shakespeare, he answered: "David has great intelligence to tackle this role. It feels that there is no such thing as a definitive Hamlet - there are only an infinitive number of Hamlets. What he will get is the excitement of the role, the drive Hamlet's experience of grief, his experience of what it is to grow up. All those things he will approach with a freshness, a kind of 'new'."

Given their current TV cred, neither actor could ever be said to be out of joint with the times, unlike the alienated Hamlet. And when Tennant takes command at the RSC's Courtyard Theatre (and later this year at the West End's Novello Theatre) and Tate romps around the bedroom as slapper Michelle in Under the Blue Sky at the West End's Duke of York' Theatre, it'll be possible to see two actors on stage who have both been time travelling together in Doctor Who - one starring in two timeless classics (Tennant also appears at Stratford as Berowne in Love's Labour's Lost), another in a timely sex comedy (when Under the Blue Sky was first staged at the Royal Court Upstairs in 2000, directed by Rufus Norris, the Guardian's Michael Billington called it "a teachers' La Ronde which deals, in a wittily circular fashion, with romantic and sexual agony among the academic classes").

If Tennant ever had a dream acting role it was never the moody Dane on stage, always the mighty Doctor on 'IV. Wind the clock back to the age of three. Even then the toddler was apparently telling his parents that he wanted to become an actor because he was mad about Doctor Who. Later, when the teenage David McDonald was studying at the Royal Scottish Academy of Music and Drama (he was soon to adopt the professional name Tennant apparently inspired by seeing Neil Tennant of the Pet Shop Boys in Smash Hits magazine), he told his old school magazine, the Grammarian, that the only role he had set his sights on was Doctor Who, "because I have a fetish about men dressed in plastic suits".

Tennant finally - and famously - achieved his ambition in 2005, when he was cast as the tenth - and surely most popular - Time Lord from Gallifrey in the BBC series, and was soon joined in the Tardis by Tate as his companion Donna Noble, the runaway bride turned galactic commuter, battling aliens and monsters, like the potato-headed Sontoran, or releasing tentacle-faced Oods from slavery. As Tate quipped at the time: "I'm honoured and delighted to be joining David aboard the Tardis. I was holding out for summer season at Wigan rep but as a summer job this'll do."

As the current series of Doctor Who comes to an end, Whovians will be eagerly anticipating Tennant's Great Dane (no doubt vying with Trekkies eager to see Patrick Stewart as the Ghost and Claudius) and fans of Tate and her gallery of sketch comedy characters will be hot-footing it to the West End. But no one should be surprised that they are both doing time on the boards. As anyone who has seen Tennant playing a gallery of non-sci fi characters in the theatre will confirm, to be or not to be one of our finest stage actors was never in doubt. He's a natural. As Tennant once said himself, stage work is his "default way of being".

In 1996, when he was just 25, Tennant joined the Royal Shakespeare Company, winning high praise for his Touchstone in As You Like It, his Jack Lane in Peter Whelan's The Herbal Bed, his Romeo in Michael Boyd's production of Romeo and Juliet, his Captain Jack Absolute in The Rivals and his Antipholus of Syracuse in The Comedy of Errors (for which he received a 2000 Ian Charleson Award nomination for best classical actor under 30).

Tennant also walked off with the Best Male Performance prize at the 2005 Critics' Awards for Theatre in Scotland, as Jimmy Porter in Look Back in Anger, having already earned himself a 2003 Laurence Olivier nomination for Best Actor for the role of Jeff in Lobby Hero at the Donmar Warehouse. Later in 2005, the Evening Standard's Nicholas de Jongh singled out his stand-out performance in Martin McDonagh's nightmare-ish The Pillowman at the National Theatre. "Tennant's wonderful, emotionally wracked performance as Katurian, desperate for his stories to survive his death, conveys the essence of McDonagh's dark vision of police state machinations."

But as Tennant told back in 2003, when he was in The Pillowman, Hamlet, Berowne and Jimmy Porter were already on a long wishlist of stage roles he still wanted to play. "Starting with Shakespeare, there are a load: Benedick in Much Ado About Nothing, Berowne in Love's Labour's Lost, Angelo in Measure for Measure, Richard H. I tried to persuade Michael Boyd to let me do Hamlet, but he'd already gone and signed up Toby Stephens! Other parts? Jimmy Porter in Look Back in Anger, Jack in The Importance of Being Earnest, either of the men in Closer." How quickly before he ticks the others off that list?

Apart from daring Donna in Doctor Who, Catherine Tate (she was born Catherine Ford, but changed her name when she got her Equity card) is still best known for her groundbreaking award-winning BBC series The Catherine Tate Show and her freak's roll call of catchphrase monsters, including insolent teenager Lauren Cooper (her "Am I bovvered?" is now an official entry in the Oxford English Dictionary), foul-mouthed cockney Joannie "Nan" Taylor and Derek Faye, the camper-than-Christmas bachelor in denial ("Who dear? Me dear? Gay dear? No dear!").

"I don't know why, but people tend to look at stand-ups and think they can't act, which actually isn't the case," Tate once said in an interview. Indeed, Like Tennant, she's no stranger to the stage classics. Go back in time, to before her stand-up comedy career took her off into another dimension entirely, and well before she last acted in the West End alongside former Friends star David Schwimmer in Neil LaBute's Some Girl(s) in 2005, and you'll find Tate at the RSC playing Smeraldina in A Servant to Two Masters.

This Goldoni classic was one thing, but chiming with the Bard's arcane comedy was something else, Tate admitted last year when she spoke at one of the RSC's Shakespeare and Me series of talks. "It's got to strike a chord with us. We can't write Shakespeare off, but wearing bells on knees isn't going to work," adding that she had once impersonated Ian McKellen delivering a Shakespearean speech, which apparently helped her pass her drama school audition for Central at the age of 17. It must have worked. After graduating, she soon landed roles at the National Theatre, including Peg in Phyllida Lloyd's 1995 production of The Way of the World (in the same year that Tennant was also at the National, playing page boy Nick in What the Butler Saw).

But joining the National, Tate once recalled, wasn't the anticipated step up the theatrical ladder. "You go in at a low level, you come out as you go in. There's a hierarchy that's impossible to climb." It was then that she tried stand-up, and never looked back: "It was such a relief to take some control back."

Looking back on Tate's laughter-making, Under the Blue Sky playwright David Eldridge observes, "the comedy was something she did for herself, but she never considered herself anything other than an actor and always had an interest in doing plays. I saw her in a reading at the Donmar and she was fantastic in it, so when they first talked to me about sending Catherine Tate my play, I was delighted. She's very well cast and, really for her, this is a coming home more than a departure."

So do you still consider Tennant (voted Most Popular Actor at the National Television Awards 2007) and Tate (the real people's choice at the 2008 National Comedy Awards) as just a couple of Doctor Who stars doing time on stage between jobs? As Derek Faye would say, "How very dare you!"

Hamlet is playing at the RSC's Courtyard Theatre at Stratford-upon-Avon from 24 July until 15 November, then transferring to the West End's Novella Theatre (0844 482 5135) where it starts performances on 3 December. Under the Blue Sky starts performances at the Duke of York's Theatre on 15 July (0870 060 1483). See p10 for details of our Outing to Under the Blue Sky on 21 August (020 7907 7020).

Caption: Catherine Tate and the cast of Under The Blue Sky: (l-r) Francesco Taos, Nigel Lindsay, Dominic Rowan Lisa Dillon and Chris O'Dowd

Spelling correction: Sontaran


On first thoughts about acting — I was very small, about three or four I think, and just wanted to be the people on telly telling these wonderful stories. Obviously the idea grew and matured with me, but I can't ever remember wanting to do anything else.

On his first big break - My first job out of drama school was a production of The Resistible Rise of Arturo Ui which toured Scotland. A couple of years after that, I did a TV series for BBC Scotland called Takin' Over the Asylum. It was seen in England, too, and probably every job since then has been either directly or indirectly because of that. It's what brought me to London and got me a London agent and what got me noticed the first time around by the National, where I then went to do a production of What the Butler Sow.

On his worst review ever - -For playing King Arthur in an Edinburgh production, my second job. The review in The Scotsman said, "The cast of 18 are uniformly excellent, with the exception of David Tennant, who lacks any charm or ability whatsoever." Which I have to soy floored me for quite a while.

On his usually good reviews - I stopped reading them years ago. I used to be a junkie for them, and after the first night I would buy every single newspaper and pore over them, but you only need to get kicked in the face a couple of times to know better and that it doesn't really help you.

On distinguishing the character from the actor - I remember, after seeing Jon Pertwee turn into Tom Baker in Doctor Who, having a conversation with my parents at a very young age about actors and what they did. I remember getting the distinction between a character and an actor, as they explained it. I understood what fiction was very clearly. I always feel uneasy when people talk about children not understanding the difference between fantasy and reality. I can only have been three, but I was quite clear that I didn't want to be a Time Lord — I wanted to be the person who played a Time Lord.

On whether he would like to become a director - Probably in theatre rather than television, because there's that whole technical side. I love the idea of working with actors on performances and I'd like to help facilitate that for other people, but it's how you start — it's like starting a whole new career.

On working with Catherine Tate in Doctor Who — After her first day, I was a bit worried that we hadn't made enough of a fuss of her. Because she slotted in so utterly seamlessly, I just thought, "I really hope Catherine's aware of how thrilled we are to have her bock on set and how much fun it is". She's so great to play off and act with.


On performing someone else's script on stage - It's like the grass is always greener for me. When I've had the responsibility of doing my show, I often daydream about the joy of just being handed a script and asked to turn up for rehearsals. And then the weeks of the play go by and you forget about the stress and strains of doing that because you're in a position where, however open and helpful everyone is, it's not my show, it's not my gig.

On female stand-ups - I do think audiences judge you perhaps a bit quicker if you're a woman, but I don't think you should be put off it. You have to have a bit of a male attitude towards it because women are more sensitive and if you do get a succession of rough gigs it does take a lot to go, "I'm going to carry on doing this, they are not going to get me down". Though you do need to be very clear that if you are dying on your arse, it may be just because you're not that good at it. To be honest, I think there's a little bit of pussyfooting around when people make excuses for women or women make excuses for themselves because whether you're male or female, if you're not funny, you're not funny. I don't think making people laugh is a particularly gender-specific thing.

On catchphrases - The thing with catchphrases is that you can't make people s them. It's the audience that keeps catchphrases alive. On TV stardom — If in filie years' time the only thing that I've done that is remembered is a teenager saying, "Am I bovvered?" then I'd worry. On how she finds inspiration for her TV comedy — I'm a very negative person, maybe a bit monk, but one thing that gets you through even the darkest hour is a tiny voice which puts it through a filter and turns it out as a sketch at the other end. In any situation — awful, good, or average — there's always part of me thinking, "That would be a good two-shot there".

On how she perceives her career - I'm really not ambitious, I'm naturally quite lazy and I actually think I'm lax about my career. None of my work defines who I am.

Disclaimer: These citations are created on-the-fly using primitive parsing techniques. You should double-check all citations. Send feedback to

  • APA 6th ed.: Foss, Roger (July/August 2008). Who's on the Boards. What's on Stage p. 14.
  • MLA 7th ed.: Foss, Roger. "Who's on the Boards." What's on Stage [add city] July/August 2008, 14. Print.
  • Chicago 15th ed.: Foss, Roger. "Who's on the Boards." What's on Stage, edition, sec., July/August 2008
  • Turabian: Foss, Roger. "Who's on the Boards." What's on Stage, July/August 2008, section, 14 edition.
  • Wikipedia (this article): <ref>{{cite news| title=Who's on the Boards | url= | work=What's on Stage | pages=14 | date=July/August 2008 | via=Doctor Who Cuttings Archive | accessdate=29 February 2024 }}</ref>
  • Wikipedia (this page): <ref>{{cite web | title=Who's on the Boards | url= | work=Doctor Who Cuttings Archive | accessdate=29 February 2024}}</ref>