Some Outside In Takes A Stab reviews from the contributors. Ordinarily a review from the author would be less than impartial, but given the nature of the Outside In books that doesn't apply in quite the same way. On Goodreads, Outside In Takes A Stab currently has an average of ★★★★.67 (out of five).
Monday, 28 December 2020
Outside In Takes A Stab Reviews
Saturday, 5 December 2020
Outside In Makes It So Reviews
Some Outside In Makes It So reviews from the contributors. Ordinarily a review from the author would be less than impartial, but given the nature of the Outside In books that doesn't apply in quite the same way. On Goodreads, Outside In Makes It So currently has an average of ★★★★ and a half (out of five).
Friday, 13 November 2020
More Outside In Boldly Goes Reviews
Tuesday, 20 February 2018
More Time Shadows Reviews
The rating for Time Shadows on goodreads see it at a 4.17 stars (out of 5).Reviewer: Jolyon Tuck
June 24, 2017
This collection is a lot of fun. Every Doctor gets a go, with each story treating the TARDIS crew of the time with great respect. A lean towards first Doctor stories, the collection has a mix between good stand alone content and your popular fan self-referencing madness. You can enjoy the tenth Doctor and Rose in a celebrity historical, join the seventh Doctor and Mel at the theme park of animatronics, find out why there was such a shift in tone between seasons 17 and 18, and find out which parents would have the Doctor as a Godfather to their son. And that's without referencing the linking story for the Doctor and Clara that links a number of stories in the collection together.
Plenty more hits than misses in this one - and something for everyone. A personal delight was a story involving the Weeping Angels that I am completely convinced I now remember seeing on television - but I read it here first!
Reviewer: Stephen Hartwell
August 17, 2016
A fun set of stories with a wide range of Doctors and companions, neatly wrapped up into an over-arching 5-part story featuring the 12th Doctor and Clara. Highly recommended for Doctor Who fans, and it's for a good cause.
Reviewer: Bob Furnell
August 24, 2016
Never finished the book.
Thursday, 19 January 2017
Outside In Boldly Goes Reviews
We Are Cult
Reviewer: Don Klees
November 10, 2016
Star Trekkin’: Outside In Boldly Goes reviewed
One of the wonderful things about Star Trek is that for all its broader cultural familiarity there’s relatively little consensus on what it really is. Outside of certain obvious characters, iconography and tropes, the essence and content of the show is a bit more inscrutable. Is Star Trek a cerebral science-fiction drama or a swashbuckling space-opera? Could it be an allegory on broader cultural concerns or perhaps a self-referential reflection on its own fictional universe? The answer is, of course, all of the above – a point nicely articulated by ATB Publishing’s recently released anthology Outside In Boldly Goes.
As the promotional copy for the book observes, if you put ten Star Trek fans in a room, you’ll end up with eleven opinions. Not content with such low-key discussion, Outside In Boldly Goes collects 117 essays covering the entirety of The Original Series (TOS) and any TV or movie production that could reasonably be considered “Kirk era” from The Cage through Star Trek Beyond. Matching that broad range of topics is an equally broad range of writers mixing well-known figures in science-fiction fandom with individual – but no less insightful – fans.
The sheer diversity of approaches is on display in the first few pieces alone. Novelist Jonathan Blum’s discussion of the ahead-of-its-time drama series Star Trek could have been if The Cage had become the show’s template instead of just a fascinating first effort is followed by a riff on Poe’s The Raven recounting a viewing of The Man Trap. That in turn gives way to a spotlight on how key Grace Lee Whitney’s performance as Janice Rand was to the episode Charlie X (and another glimpse of a different show Star Trek could have become) and an obituary for Lee Kelso, one of the manifestly non-“red shirt” fatalities from Where No Man Has Gone Before.
With 117 essays and an equal number of viewpoints, not every essay is uniformly interesting. While their intent is admirable, the pieces on Space Seed and Errand Of Mercy come across as trying too hard to make a point about commercialism. In a similar vein, the essay about The Apple is working a bit too hard to set up a fairly obvious joke, though, admittedly a bit of irreverence can be welcome addition to any discussion of Star Trek. Ultimately, the strong pieces are far more numerous and offer engaging perspectives on a wide range of episodes and movies from the show’s 50 years.
Sometimes individual characters are the focus, as in the piece about For The World Is Hollow And I Have Touched The Sky where Stephanie Crawford examines McCoy’s role as “the passionate, emotional center of Star Trek.” Similarly, Kate Orman’s piece about The Enemy Within and the treatment of Janice Rand therein is a stark reminder that the idealistic, progressive vision of the future Star Trek presented wasn’t always reflected in its onscreen reality. Another common thread is looking at episodes in the cultural context of their time, reflecting still potent issues such as racism in Let That Be Your Last Battlefield or environmental concerns in the animated story More Tribbles, More Troubles.
It’s especially nice to see The Animated Series treated with respect in this volume. The status of TAS has been inconsistent over the years, but there’s no indication that the writers here view it as anything other than proper Star Trek. Certainly, the range of approaches to it is no less varied, as shown by the whimsical entry for The Magicks Of Megas-Tu. Presented as an internal Starfleet memo regarding the possibility that Captain Kirk is a devil worshipper, it playfully references a variety of other Star Trek stories, including Star Trek VI: The Undiscovered Country.
In discussing the movies, the writers are to be commended for boldly going beyond the conventional wisdom of odd-bad/even-good. This is particularly noteworthy in the essays about Star Trek: The Motion Picture and Star Trek: Generations. Graeme Burk effectively argues that the former is the only actual “Star Trek film” while Thomas Cookson’s offers an eloquent defense of “the last ‘Trek’ film to not feel written by a committee”. Kudos also to Arnold T. Blumberg for keying in on the emotional impact of the music from Star Trek III: The Search For Spock.
Other highlights include essays relating to occasions where episodes of later Star Trek series tied back to TOS. In discussing Trials And Tribble-Ations Anthony Wilson finds connective tissue between that Deep Space Nine episode and The Trouble With Tribbles that makes the crossover between Deep Space Nine and TOS not just work but also seem perfectly logical. More surprisingly, Finn Clark’s piece on The Tholian Web makes a good case that the titular aliens were actually used to greater effect when they appeared in the prequel series Enterprise.
Whatever approach taken, from straightforward reminiscence to offbeat “in universe” narratives, the pieces here are above all very personal expressions. Like the people who made it, Star Trek itself is both brilliant and flawed. The measure of its fans is that so many of them can engage with it on both those fronts. Outside In Boldly Goes is nothing less than 117 testaments to the intelligence and passion of a remarkable fandom.
Outside In Boldly Goes: 117 New Perspectives on 117 Classic Star Trek Stories by 117 Writers edited by Robert Smith? is out now from ATB Publishing and you can order it directly from the publisher.
IGN
Reviewer: By Adam DiLeo
6th January 2017
The Outside In series tackles Trek in its latest effort.
There are 116 pieces of officially sanctioned moving image entertainment featuring the main characters of the original 1966 Star Trek TV series. I know that thanks to ATB Publishing’s latest entry in its Outside In series: Outside In Boldly Goes.
The general idea of the books, previously limited to the Doctor Who universe, is to gather a wide range of writers to each “review” (more on that in a moment) one TV episode or film from a given property. The viewpoints come from diehard fans to near newcomers and everything in between. Boldly Goes, as the name would suggest, applies that formula to “Kirk-era” Trek, covering all 79 TOS episodes, the 22-episode run of Star Trek: The Animated Series, the four TNG episodes featuring TOS characters, one episode each from DS9 and Voyager and all nine films starring the Kirk-era characters. (It’s not limited to stories involving the original cast; the Abramsverse Trek movies make the list as well.) There's even a bonus chapter devoted to the ultimate Trek homage film, Galaxy Quest.
While many of the writers are hardcore Trekkies (and often describe their fandom at considerable length) some are more casual fans. Others still describe themselves as more or less uninvested in the property. Pros with serious Trek cred like Robert Greenberger, Paul Simpson and the book’s publisher Arnold T. Blumberg join the founder of the official Star Trek Fan Club Dan Madsen, moonlighting scientists, historians, avowed non-fans, unlikely amateurs and more. The mixture provides variety but unevenness as well. Most chapters are highly intelligent, interesting and/or funny, but some are duds with a fair amount of jokes that fall flat, grammatical awkwardness and the odd typo here and there. Expanding the range of authors to include newbies and non-fans gives a wider spread of perspectives but their chapters aren’t of much value for longtime fans who may not find a neophyte’s opinions all that insightful.
Now about those “reviews”: there really aren’t that many traditional reviews assessing a given episode or film’s artistic merit. More common are thought-provoking philosophical pieces like Ivy Glennon’s examination of feminism in Wink Of An Eye. Indeed the greatest takeaway from many of these pieces is the hard but well-known-among-fans truth that, while light years ahead of its time on equality and social justice, the original Trek was nevertheless deeply flawed in its treatment of gender roles and stereotypes, often to the point of outright misogyny. This isn’t limited to Kirk’s well known penchant for charming alien ladies, it pervades both the casting and writing of women characters in the original series, most of whom lack any real power. No matter how formidable they appear at first, these women always seem to find themselves in need of a good man to take charge in the end.
But this is a book written for fans, mostly by devout fans. The writers who cast the objective light of modern sensibilities on the difficult areas do so with a sense of respect for the import of the original series and its progeny, and its optimism for a future free from prejudice, poverty, disease and war.
117 chapters is a lot of ground to cover so to keep it fresh writers were clearly encouraged to get creative. The result is a goodly number of chapters that veer off into the humorous or even the ridiculous. There’s an excellent obituary for one of the many redshirts who perish in the original series, complete with a local newspaper’s inaccurate rendering of Kirk’s name, a logical proof showing the object of Spock’s affection in Amok Time was a crappy Vulcan, Star Trek mad libs, a recipe book for giant blob clouds, a collectible trading card game, an “awful seductress-plot drinking game”, and countless other unique takes on the eps and films. Unsurprisingly many of the more ludicrous entries come in the sections devoted to The Animated Series because, well, one can only say “it’s not very good” in so many ways.
Outside In Boldly Goes won’t reveal any earth shaking commentary for diehards but those superfans may nonetheless find something to love, whether it's in the passionate essays about feminism and character motivation, whimsical deep dives like what might have happened if Assignment: Earth had managed to successfully spinoff a series about Gary Seven, or the goofy lampooning of some of the low points in Trek history. For the rest of us -- full disclosure, I reside somewhere between dilettante and casual aficionado, having as yet failed to see a number of DS9, Voyager and Enterprise episodes -- it’s a worthwhile read because, in addition to some laugh out loud humor and thoughtful prose, the mélange of opinions means that every so often a particular writer’s voice can sound surprisingly like the reader's own point of view at one milestone or another on the uniquely personal path of fanhood.
Outside In Boldly Goes is available now from ATB Publishing.
The Verdict
A fun book with a ton of variety, Outside In Boldly Goes has something for just about everyone. A few low points don't damage the overall quality of the endeavor, much like the show the book focuses on.
Good
117 writers put their spin on Trek with mixed but mostly positive results in an often witty and insightful book.
7.5
(presumably out of ten)
Friday, 13 January 2017
Time Shadows Reviews II
Immaterial
Reviewer: Daniel Tessier
24 September 2016
I believe we're on the cusp of a new golden age of fan fiction, at least in the worlds of Doctor Who. After a few years when professional and semi-pro unofficial fiction all but dried up, there has been a resurgence in this area lately, and some of the projects have been excellent. The latest such project, from Pseudoscope Publishing, is perhaps the best in a recent run of impressive publications.
Time Shadows sees an impressive group of new and established writers come together to raise funds for the Enable Community Foundation; a charity dedicated to providing needy communities with access to the latest technology and techniques to provide replacement limbs and prostheses. It's a remarkable organisation, supported by a remarkable book.
Time Shadows gives us a wide variety of story styles and themes, although a number of them revolve around a concept of time becoming twisted or undone. The stories are of a very high standard. It's a cliché to call these collections a mixed bag, but it's true. Inevitably some stories are better than others, or, at least, better suit a particular reader's taste. However, Time Shadows is the most consistently well-written collection I've read in a long time. There's only one story in the book that I didn't particularly enjoy, and even then, I can see that it would likely suit another reader. In terms of quality, this is a huge achievement.
Going through every story, one by one, would make this a very long spoilerish review, so I'll be content to pick out some of my favourite stories. Time's Shadow, by Simon Blake, not only sets the overall feel of the book with its tale of time out of joint, but provides an unsettling and entertaining story from the very beginning of Doctor Who's history: that dilapidated junkyard back in '63. Also tied in with the earliest elements of the series is David McLain's story, Indigo, a fun diversion for the first Doctor with a fun punchline.
One of my favourite stories of the collection, The Godfather, has nothing to do with Mario Puzo. Rather, it's a quiet, rather beautiful story by John Davies, about the difficulties of growing up, that gives us a glimpse into the later life of two of the Doctor's companions. The Neither, by Ian Howden, is a very effective little adventure for Mike Yates and Sarah Jane Smith. They make such a fine pair in this story that they could have had their own spin-off series together.
There are two Cyberman stories that are particularly noteworthy for their very different approaches to the fifty-year-old monsters. Iron Joe, by Abel Diaz, sees the sixth Doctor and Peri encounter a Cyberman in the old West, an arresting and unlikely combination of images that make for quite an adventure. Andrew Blair's story, Confirmation Bias, is an absolutely devastating story that looks at the Cybermen from the opposite angle, focusing on the unbearable reality of becoming a Cyberman.
Christopher Colley manages to create both the funniest story of the collection, and one of the most affecting. After The Ball Was Over begins as light-hearted, frothy, almost Hitchhikers-esque romp before veering into an tale of guilt, that goes exists to explain the huge change in the fourth Doctor's demeanour between seasons seventeen and eighteen. The Redemption of Vequazon, by Nick Walters, has an outlandish fantasy title but delivers quite a powerful tale of morality and deliverance.
As with many collections of this nature, Time Shadows has a framing story. However, while most such stories are contrived and often quite ineffective, A Torch In The Darkness is one of the best Doctor Who stories I've read in a long time. Dale Smith, David N. Smith, Violet Addison, and Christopher Colley work together on this overarching tale, that brings the twelfth Doctor and Clara on a voyage throughout time, from the days of classical myth to the end of the universe itself. As well as capturing the Twelve/Clara relationship down to a tee, this five-part story sees the Doctor's own history explored. The stories throughout the collection are explicitly referenced as newly created events - intrusions into the Doctor's past. Indeed, isn't that what all these missing adventures are? New elements that we've fashioned to make our favourite character's life even more packed full of incident. A Torch In The Darkness also riffs on the same ideas as Listen, but takes it further and to a more powerful conclusion. In a collection that features all thirteen Doctors (and more besides), it's the crowning achievement. Exceptional.
Regeneration Who
Reviewer: Kara Dennison
17th October 2016
There is a real joy to Doctor Who charity anthologies. Minus a few thematic elements to bind the book together, they are largely free of restrictions of both what can be televised (both conveniently and legally) and what can and can’t be done within the set plot structure. It enables writers to toy with crossovers, returns to characters the series proper might have no desire to revisit, and even bits of canon that the show itself may never want to write. There’s a beautiful freedom there, both as a writer and as a reader who knows that this is just one of many fan imaginings that can be enjoyed for itself without wondering about its influence on the show’s legacy.
Time Shadows is one of the latest additions to the run of Doctor Who fanthologies, written to raise money for the Enable Community Foundation. Edited by Matt Grady and Samuel Gibb with a foreword by Gary Russell, it is a collection of new stories spanning the entirety of the televised series’s run. As is potentially guessable by the cover image, there is an especial focus on our incumbent Doctor, by way of a frame story featuring him and Clara Oswald.
What makes Time Shadows truly unique is the way it plays with the anthology format. We have a variety of writers pitching in a variety of stories — a young boy befriending an uncased Dalek, the Sixth Doctor and Peri encountering a Wild West Cyberman, and the Eighth Doctor’s run-in with Daleks and the Meddling Monk all at once, for example — which, in and of itself, is par for the course. But it’s the frame story, the overarching adventure of the Twelfth Doctor and Clara hunting down a mysterious time machine known as the Alpha TARDIS, that brings the threads together. How? Why? Where does it lead? That’s best discovered on its own. But it’s an ingenious use of the anthology format, and a brilliant way of tying together the works of a variety of authors that makes the patchwork of eras not only cohesive, but actually necessary to the plot.
As happens with a fanthology, the quality of the stories is all over the map. None of the stories truly fails as a Doctor Who story, but the writing quality itself varies person to person. Overall, there are far more hits than misses, and many of my misses may well be other people’s hits. It is important to bear in mind, though, that when picking up a fanthology, you’re not picking up a squeaky-clean, picked-over, BBC-polished product. You’re picking up a labour of love — and even if a particular writer’s voice may not be as strong as the ones around it, their passion for the show and characters still shines through in the inventiveness they bring to the concept.
So far, Time Shadows has raised more than $700 for the ECF, but there’s still a ways to go. Even leaving aside that it’s for a good cause, this anthology is definitely worth your money. It brings a degree of cleverness to the collaborative anthology format that, while present in other books, is exercised in a truly ingenious way here. There’s also a great deal of love shown for both 20th and 21st century Who, so no matter what your era, you will find something to enjoy.
Time Shadows is available to buy from the Pseudoscope Website, where you can also make donations to the ECF.
Sunday, 8 January 2017
Time Shadows Reviews
Cosmic Masque
Reviewer: Jolyon Drake
December 31st, 2016
Fans of a certain age will have a shelf holding a Decalog or a Short Trips anthology, left over from the time that the short story was the perfect format for the established writers and the newcomers to share a platform for expanding the narrative of Who. Somewhere along the way, fans began producing unauthorised anthologies to raise money for a good cause, and in Time Shadows we are offered twenty short stories and one longer tale that raise money for the Enable Community Foundation.
Credit to the editorial work of Matt Grady with Samuel Gibb, that the stories feature the full range of Doctors and whilst the tone of the collection offers something for everyone, the standard is high throughout. There is a nice mixture of Earth-based adventures and alien world-building. There are villains and monsters and ghosts and time travellers. There is a wealth of well-drawn original characters, but most importantly, each Doctor and companion has a recognisable voice that makes the anthology trot along without any misfires in characterisation. What you like and dislike will marry up with how you feel about the show, because every era is represented by an author who clearly cares about and knows how to capture the feeling of the TARDIS team they have taken on.
We are given a chance to enjoy another outing for the Doctors under-represented in the written word. In Someone Took The Words Away Roger McCoy brings the ninth Doctor and Rose to a place where not a word can be wasted. The War Doctor appears in Visitor from Space! by J.R. Loflin, being grumpy and compassionate in equal measure. Meanwhile, Inertia by Pete Kempshall and The People In The Wood by Steve Hatcher are a reminder of the season seven cast and just how glorious the stories of that period can be.
Some of the contributions contain more kisses to the past, filling in gaps or offering ‘what if’ scenarios that only fans could devise. If expanding the mythology of the series is your thing, look no further than Indigo by David McLain, where the Doctor and Ian find that aliens trying to mess with the past are tampering with something surprisingly personal, or The Godfather by John Davies, where the Doctor and Jamie, fresh from The Two Doctors, show what they are capable of when they have expert control of the TARDIS. If you want to know how Mike Yates got from Invasion Of The Dinosaurs to Planet Of The Spiders, The Neither by Ian Howden will help you to fill the gap and make even more sense of our old Captain’s interest in the mystical.
My era of Who is perfectly captured in Straight On Till Morning by Chris Heffernan, with a story you could believe JNT would have commissioned on the spot – the Doctor and Mel visit a theme park where all is not right. Their investigation leads them into a world of animatronic characters from the Wizard of Oz to Peter Pan. I was taken straight back to 1987 and loved the experience.
It is good to see that a book raising money for prosthetics doesn’t shy away from using the Cybermen, and one of the stand-out stories of the collection is Confirmation Bias by Andrew Blair, where the reader is given a devastating insight into what the Doctor doesn’t know about his opponent.
Linking the collection together is A Torch In The Darkness five episodes that weave through the anthology from Dale Smith, David N. Smith & Violet Addison and Christopher Colley. Each part raises the stakes and pulls the collection together as it goes, referencing events from along the journey. In the centre, the Medusa chapter gives an appearance of the Weeping Angels crying out to be realised on television; it is worth the cover price alone. The story builds to a brave, bonkers and unlikely conclusion that reminds you how much fun the worlds of Doctor Who can be.
This anthology has left me wanting more extracts of Romana’s diary and persuaded me that the ever-growing number of stories that take place in the middle of The Daleks’ Master Plan should not be stopped. As long as the editors carry this much respect for every era of the show, nobody is shortchanged by the results, and knowing that the sale proceeds are contributing to a good cause is a welcome bonus.
Time Shadows is available from http://pseudoscopepublishing.com
Trap One
Reviewer: Mark
September 12th, 2016
This collection of stories opens with the Twelfth Doctor at the end of the universe. It’s become one of this incarnation’s regular hangouts, somewhere he has visited in both series so far, in Listen and Hell Bent. On this visit an encounter with the powerful Alpha TARDIS is the catalyst for the other tales here, which are told as new memories created for the Doctor. It’s an effective framing device, as the ongoing story of the hunt for the stolen Alpha intersperses a series of adventures which span all of the character’s previous lives. These chapters, A Torch In The Darkness I -V (written by Dale Smith, David N. Smith and Violet Addison, and Christopher Colley) bind the individual stories together.
Someone has inserted the new events have been inserted into the Doctor’s timeline, much as he did to Kazran in A Christmas Carol. Some of the stories attempt to smooth out inconsistencies from the television stories, in the way that a lot of expanded universe material will, from the Missing Adventures to Big Finish. In Simon Blake’s thoughtful Time’s Shadow, we learn why Susan claimed to have named TARDISes, when every story from The War Games onwards makes this seem increasingly unlikely. But we also find the origin of the felt-tipped ‘Fast Return’ above the switch on the console from Inside The Spaceship, so there’s the suggestion that these stories did always happen in the timeline we know.
In a similar vein is After The Ball Was Over by Christopher Colley. A highlight of the collection, it seeks to explain the change from season seventeen’s carefree, witty raconteur of a Fourth Doctor to the sombre, serious season eighteen version. Most fans know that this was the result in a change of producer from Graham Williams to John Nathan-Turner, but I think this is the first in-universe explanation for this I’ve seen. Colley very effectively evokes both eras. It feels relevant by echoing the idea of the Doctor ‘going too far’ from the Hybrid arc in the recent series ten; the idea that the Doctor is just too powerful to do whatever he wants without thinking about the consequences for the rest of the universe.
Confirmation Bias by Andrew Blair is another excellent entry which explores the consequences of the Doctor’s actions. It’s a story which uses the written form to delve into the horror of the Cybermen, and cyber-conversion, in a way the TV series has not. A Doctor-lite tale, which uses the frequently infantilised persona of the Eleventh Doctor to juxtapose what a dark universe he inhabits.
The First Doctor is well-represented in this book. Kingdom Of The Blind by David Mason gives the short-lived TARDIS team of the Doctor, Steven and Sarah Kingdom a run out; while David McLain’s Indigo is fun, but it doesn’t feel quite right for the Doctor of this period to be investigating anomalies the Ship’s sensors have picked up. But it is the First Doctor’s appearance in A Torch In Yhe Darkness II: A Legendary Hero by David N. Smith and Violet Addison, that gives the reader a first clue as to the significance of this incarnation in the overall arc. The differences between his earliest and most recent incarnation provide another story beat which again chimes with a key point from series ten, in The Girl Who Died.
This is a great collection of short stories, with a really epic story running through the individual entries. This in particular feels very much of the Moffat-era: clever story-telling and resolution, the use of avatars and an end-of-the-universe setting. In a year where the BBC are not even publishing much Doctor Who fiction to make up for the lack of a broadcast series, this is an entertaining option for a very good cause.
Order now from: http://pseudoscopepublishing.com/timeshadows/
Thursday, 24 September 2015
Twitter Twatter #18
#BieberRoast? No, thank you. I've eaten.
— David Black (@Davetweetedthis) April 1, 2015More alternating Futurama intros:
Condemned by the Space Pope
— David Black (@Davetweetedthis) April 1, 2015If there isn't a Tiger Woods biography called The Tiger Who Came To Tee then what is the point of anything?
— [⋅.⋅ ] ( °_°) (@sleepwalkingdog) April 2, 2015with more folk considering voting UKIP, this seems relevant pic.twitter.com/vuemwkymCs
— thrillhouse(@blinkclyro) April 1, 2015Filmed On Location
— David Black (@Davetweetedthis) April 2, 2015Very pleased to have a couple of sketches in this week's @NewsRevue2015 at the @CanalCafe.
— David Black (@Davetweetedthis) April 3, 2015TransmitidoenMartian enSAP
— David Black (@Davetweetedthis) April 4, 2015So is today Easter Saturday or Good Saturday?
— David Black (@Davetweetedthis) April 4, 2015Proudly Made on Earth.
— David Black (@Davetweetedthis) April 5, 2015In the kingdom of the blind, the monoid one is king. #DoctorWho's #TheArk
— David Black (@Davetweetedthis) April 6, 2015Live from Omicron Persei8
— David Black (@Davetweetedthis) April 6, 2015I drew this:
It's a third of a crocodile. I call it 'Make it snappy' pic.twitter.com/8KzHQx8c1o
— David Black (@Davetweetedthis) April 6, 2015The middle of a triptych, continuing the themes & forms of the first whilst hinting at change, plus big reptiles pic.twitter.com/hNTS0TjSmn
— David Black (@Davetweetedthis) April 6, 2015There's a self-portrait of the artist holding a #CurlyWurly hidden in Part 3. Don't feel bad if you can't see it. pic.twitter.com/3NwPhY1qsI
— David Black (@Davetweetedthis) April 6, 2015Made from meat by-products
— David Black (@Davetweetedthis) April 6, 2015It must have been a bank holiday:
Grandma has got new dentures
To eat the crust on pizza
Been taken out by her daughter
Because she thought she ought'a
— David Black (@Davetweetedthis) April 6, 2015The kids are eating #Snickers
Because they're so delicious
Then there's sticky fingers
And mother loses her knickers
— David Black (@Davetweetedthis) April 6, 2015#BankHoliday comes six times a year
Days of enjoyment to which everyone cheers
— David Black (@Davetweetedthis) April 6, 2015#BankHoliday comes with a six pack of beer
...then it's back to work A.G.A.I.N.
— David Black (@Davetweetedthis) April 6, 2015Bar-b-queis cooking
Sausages and chicken
The patio is buzzing
The neighbours they are looking
— David Black (@Davetweetedthis) April 6, 2015John is down the fun pub
Drinking lots of lager
Girls and boys are on the game
All the high streets look the same
— David Black (@Davetweetedthis) April 6, 2015Back to work A.G.A.I.N. #BankHoliday
— David Black (@Davetweetedthis) April 6, 2015>>NotY3K Compliant<<
— David Black (@Davetweetedthis) April 6, 2015can't seem to stop with this sketch theme... #TwinPeaks #SaveTwinPeaks pic.twitter.com/RHPydmnbxy
— Barbarian Lord (@BarbarianLord) April 7, 2015I'm happy to keep Trident as long as we rename it About 50000 New Nurses Or 1 Million Affordable Homes Plus New Schools And Hospitals.
— David Schneider (@davidschneider) April 9, 2015Withnail& Thigh #AddABodyPartToAFilm
— David Black (@Davetweetedthis) April 9, 2015The Purple Toes Of Cairo #AddABodyPartToAFilm
— David Black (@Davetweetedthis) April 9, 2015Serenitknee#AddABodyPartToAFilm
— David Black (@Davetweetedthis) April 9, 2015The Italian Gob #AddABodyPartToAFilm (I took the moral high road with this one)
— David Black (@Davetweetedthis) April 9, 2015Just seen @NewsRevue2015. Seriously good - can see why it earns 5 star reviews. Check it out if you can via @CanalCafe.
— Daniel Page (@coiledslinky) April 11, 2015From The Makers Of #Futurama
— David Black (@Davetweetedthis) April 14, 2015-England for the English? Good heavens, man!
-I have a duty to my country.
-Not to the world?
Jon Pertwee's Doctor, 1971: not a UKIP voter.
— Nicholas Pegg(@NicholasPegg) April 18, 2015Based On a True Story
— David Black (@Davetweetedthis) April 22, 2015Monday, 8 September 2014
Just One Job
My strip is called Assassin and features some truly fantastic artwork from Paul Ridgon.
Not only is it already out, but it's also been reviewed as well. Judge Tutor Semple describes it brilliantly as "An assassin, who is sent through time for one job. Just one job.", so I won't try to do better than that.
He goes on to say of Assassin that it's "A very well put together story with a marvellous twist, the plot addresses the Grandfather Paradox. Again the art is simple and clean and leads the reader through the tale well."
Which is nice.
Thursday, 11 October 2012
Bus Stop! Reviewed
Lee Sullivan:
"Brilliant! It's particularly amusing for me as, although I remember doing this for Simon, it was done in a bit of a rush, and I only ever saw the first panel again as a promo postcard. So, somehow the other 3 panels are completely erased from my memory - I literally cannot remember drawing them - so to see a resolution with word balloons is a treat. I like cartooning, but it seems not to engage my memory cells much; maybe because it isn't as laboured or crafted as a strip or general illustration usually is."
Simon Guerrier:
"Ha ha! Amazing!"
Friday, 22 June 2012
The Cherry Orchard & The Undiscovered Feedback
Siobhan Dunne, the Deputy Head Of HRC's Creative Arts and Industries Department wrote this about The Cherry Orchard:
"This week has been a hot and hectic start to the CAI-Brox End of Year Shows. On Tuesday we saw an engrossing production of Anton Chekhov's The Cherry Orchard under the thoughtful guidance of our guest Theatre Director David Williams. A lyrical adaptation of this Russian Classic which made exacting demands on our Year 1 level 3 Performing Arts student actors. This 1904 play tackled the difficult issues of living in a time of transformation and the inevitability of change."
and then this about The Undiscovered:
"Last week the year 2 drama also performed their devised show which conjured up ghosts in theatre and a battle between the living and the dead over the "Scottish Play". Thanks to David Williams our guest director for all his hard work this term – we hope to be able to invite him back again."
Which was nice.
Monday, 16 April 2012
N Is For...1905
I've been working my way through my CV and writing about the various shows with which I've been involved. I'm up to 1905 (or for the purposes of the alphabet, Nineteen Hundred And Five AD).
In 2005, the New Factory Of Eccentric Actor staged 1905, a show about the failed Russian revolution of that year. The play was a promenade performance mounted twice during the hundredth anniversary year of the events, initially at Brunswick House and then at Mary Ward House in London.
The play followed the year's events, including the original Bloody Sunday massacre, and showed how they affected groups as diverse as strikers, their families, students, the Russian royal family and historical figures like Leon Trotsky, Henry Nevinson, Colonel Theodore Trepov and Tsar Nicholas II. However, The central characters for the audience to identify with were fictional: a student named Boris and the Petrov family with whom he stayed.
I played Tolya, an artist studying at the university and friend to Boris. I had about a half a dozen lines across three scenes and, apart from the ensemble scenes, was in the enviable position of watching the rest of the play with the audience.
Typically, New Factory shows have a very large cast and a rehearsal schedule that means people do as much or as little as they can, work permitting. This sounds chaotic, but it's really not. It may mean some actors do not meet until the day of the performance and yet it just goes to show that actors make it work despite the adversity.
The New Factory are a great bunch to be involved with. This was the first their shows that I took part in and I've been in another half a dozen or so since. I count myself very lucky to have met them. During the first production of 1905, I was lucky enough to befriend the late Matt Eggleton, who then introduced me to the Globe Players, which lead to me auditioning for Sleeping Beauty, and therefore me getting my first professional job. I owe him a lot.
Here are couple of reviews:
Morning Star
Reviewer: Zoe Corbyn
6th December 2005
Make space for political theatre
ZOE CORBYN reports on the New Factory of the Eccentric Actor and its extraordinary large-scale free theatre events.
"Maggots in the soup!" The puppeteers' chants grow louder and louder as a camera made of cardboard zooms in on angry toy sailors throwing their tyrant captain overboard.
A director screeches instructions in Russian through a giant megaphone.
The scene is a reconstruction of Battleship Potemkin, the famous silent film by Sergei Eisenstein which tells the story of the 1905 uprising onboard the Potemkin and its spill onto the streets and steps of Odessa.
Puppetship Potemkin is being bought to life by the New Factory of the Eccentric Actor.
It's a scene from their fifth production, entitled 1905, staged last weekend at the Mary Ward Hall in Bloomsbury in central London.
The play commemorates 100 years since the 1905 Russian revolution and tells the story of the fictional Petrov family, caught in a year of unrest in Russian history that is often seen as the dress rehearsal for the 1917 victory of the Bolsheviks over tsarist Russia.
But 1905 is not just any play. Indeed, the New Factory's political theatre has a rather special ethos.
"The production should be an event, an extraordinary event," explains the company's playwright and founder member Penelope Dimond. "We want people to come out saying: 'That was amazing - I've not been to anything like that before'."
And that it is. Staging large-scale shows in big spaces is a New Factory hallmark and 1905 boasts a cast of over 60 professional actors, musicians and performers. They intermingle with the audience to draw everyone into the show.
To see grand-scale experimental theatre is unusual these days. That it portrays an important piece of political history in such an interactive, entertaining and thought-provoking way is a rare and wonderful treat.
But working with such large numbers of people is no mean feat. "The first time everyone is actually together is on the first night," explains co-director Garry Merry. "I really relish it, it gives the scenes a real kick," enthuses actor Sue Maund.
Also extraordinary is that New Factory shows are free and the actors give their time for nothing, which means a short intensive rehearsal period of under a fortnight.
But, as well as drawing people in, this is to make a political statement.
"Theatre has become very very expensive," says Dimond. "Even small fringe theatres are charging a lot and the whole point is that theatre should be available for everyone. This is really theatre for the masses."
For Merry, the bottom line is that the New Factory will do a show with the money that they have got and the goodwill of the performers.
In the case of this production, the company received a grant.
Most of it has gone on venue hire - the kind of spaces that they need are expensive - but they also performed the same production earlier in the year in a space that they were lent for free.
The core of the New Factory is a team of five. In addition to Dimond and Merry, there's writer-director Josh Darcy, designer Jonathan Swain and musical director Martina Schwarz.
Schwarz's original music scores dance to accordions, oboes, trombones, and more - whatever instruments are available.
The design also adds to the extraordinary air. Swain is on stage throughout holding up signs or creating art works as the event unfolds.
Dimond, Darcy and Merry act in the shows too. The play sees Dimond make her entrance as the only woman in Lenin's government Alexander Kollontai, Darcy as Father Gapon, grasping to come to terms with the uprising that he has started, and Merry as the writer Maxim Gorky.
The company's name pays homage to the Factory of the Eccentric Actor, shortened to FEKS, a group staging large-scale extraordinary events in St Petersburg in the early 1920s.
The New Factory was born in 1995 after Dimond read Jonathan Treitel's The Red Cabbage Cafe and knew that she had to adapt the novel for the stage.
Its premiere, where the audience were given bowls of soup in the cafe, set the pattern for future shows.
The New Factory now produces steaming bowls of vegetable soup to welcome their audiences.
"It's quite an undertaking, really, because you might have to feed 300 people, so there's an awful lot of chopping up of vegetables for hours and hours," says Dimond, unperturbed.
"We try to have food that's appropriate to the productions.
Occasionally, you might be lucky enough to get a tot of vodka - but we can't promise that."
The second show was New Babylon 1871. Staged in 2001, it was the first political history for the company.
Inspired by a FEKS film, it charts the rise and fall of the Paris Commune.
It solidified the tradition of singing the Internationale at the end of the shows.
For New Babylon, it was a French rendition. For 1905, Russian rings out.
Then came two smaller productions, though 20 performers still somehow seems quite large.
Lenin In London portrayed Lenin's home life in London between 1902 and 1903 as he was producing the underground revolutionary newspaper Iskra, riding his bicycle to Primrose Hill and eating ham sandwiches.
The company have also charted the eating habits of historical political figures. Backunin's Breakfast, Engels's Elevenses, Lenin's Lunch, Trotsky's Tea and Stalin's Supper.
And the future? Well, we won't have to wait too long for the next production.
The company are looking to do a show next year about the 1926 General Strike, with the Internationale sung in English.
Beyond that, who knows, but I'm guessing that 2017 might be a year to mark in your diary.
And whilst looking for reviews I found this comment on a forum, which is a nice little review:
Urban75
Reviewer: Justuname
28th November 2005
I've just seen a brilliant play in London about the 1905 Russian revolution put on by a group called something like the new factory of eccentric actors - anyone heard of them?
It was a big, free production with the acting taking place amongst the people coming to see the play, good old political theatre, quite inspiring in these ironic days. One of them told me they've been putting on plays for years about stuff like the paris commune and they're trying to get union support for an 80th anniversary play about the general strike. Ken Campbell was there but I don't know if he's anything to do with them.
Thursday, 20 January 2011
The Dearth Of Tintagel
The Times Literary SupplementReviewer: Alex Burghart
5th November 2010
When Rilke reviewed La Mort de Tintagiles, he wrote of its author: “the theatre to come will have him as its founding father and will celebrate and proclaim him”. Maurice Maeterlinck was a Nobel prize-winner, a guiding light to Symbolists and surrealists; admired by Mallarmé, Chekhov and Yeats, his work inspired an opera by Debussy (Pelléas et Mélisande) and music by Vaughn Williams. Today the playwright’s name is more likely to be greeted by shrugs than proclamation, perhaps because - as Patrick McGuinness suggested in Maurice Maeterlinck and the Making of Modern Theatre (2000) - although “his originality was amply recognised, he had no immediate successors, and no dramatist built on what he had begun”. Now, more than seventy years after Maeterlinck’s death and more than a century after the original’s publication, Vik Sivalingam has taken Peter Morris’s adaptation in hand to show us what we’re missing.
When La Mort de Tintagiles first appeared in Paris in 1894 as one of three petits drames pour marionettes, it was at odds with the lavish literalism pervading French theatre and immediately recognized as setting a new standard in sparsely bleak dramaturgy. Spread over five very short acts, the play traces the arrival of a boy prince summoned back to the castle of his birth by an old, unnamed Queen. Greeted by his sisters, Ygraine and Bellangère, and an old man, Aglovale, Tintagiles is snatched by the wicked Queen’s three servants and taken to the depths of the castle. Ygraine gives chase and finds herself separated from he boy by a large door. Through the tiniest of cracks, Tintagiles can see the light of her lamp before it breaks. The Queen, unseen and unheard, quietly murders him, leaving his sister howling in the dark.
The play left Rilke “possessed by the odd idea that there may be space for an entire plot in a single fear”. by evoking primal emotions on a mythic scale, Maeterlinck combined psychological complexity and minimalism. Morris’s script acknowledges this achievement but chooses not to replicate it, instead wrapping the text in a creepy-funny rhyme scheme. This bounces the play along in the direction of Roald Dahl (particularly good is Bellangère’s gleeful description of a murdered Pomeranian lapdog) and gives the original an added dimension of comic irreverence.
Morris brings out - and supplements - the stirring sexuality of the lead, who is part symbol, part hero. Tintagel is, among other things, the personification of the Arthurian castle; he is “more than a boy now, not yet a man”, and Freddie Machin’s unsettling, Tim Burton-ish portrayal is both naïve and curious. Occupied by sisters who have had only an impotent Aglovale (a wonderfully fey Adrian Gillott) for company, the castle is a hostile place; a ghostly voice whispers “futility” whenever “fertility” is mentioned. As Tintagel is spirited towards his fate by the three bee-like servants, he appears to suffer a reverse birth, sucked down into the dungeon which doubles as the womb of the all-consuming queen.
The Freudian imagery may be a little laboured, but it casts its spell. Ygraine was King Arthur’s mother, and this is a glance at her pre-marital past. Legend casts her as the wife of the Duke of Cornwall and occupant of Tintagel, where she is seduced (raped) by Uther Pendragon and conceives a son, Arthur, later given to Merlin. For Ygraine, castles are embodiments of first matriarchal, then patriarchal terrr, destroyers of innocence and innocents - and Vera Chok’s pitiable portrayal lets us feel her puppet-like vulnerability at the hands of fate.
Morris, Sivalingam and their cast have done theatre a service. Maeterlinck deserves better than the obscurity into which he has sunk, and this inventive staging of a sparky adaptation is long overdue.
Friday, 29 October 2010
The Echo May Whisper
REMOTEGOAT.CO.UKReviewer: Chris Bearne
28th October 2010
4 stars
"Magic in the Dark Tower"
Its genesis a long-forgotten symbolist marionette piece by Maeterlinck, the man remembered perhaps only for Pelleas and Melisande (and The Blue Bird. which was eventually to emerge as a gem of Hollywood arcana), this new treatment of The Death of Tintagel by Peter Norris (sic) is a surprise and a delight, something rich and strange, compelling and cathartic.
The scenario could be written on the back of an 1894 envelope : Matriarch Queen summons home with murderous intent her grandson, Tintagel to pre-Arthurian keep ; sisters Ygraine and Bellangere can do little to save him ; the Queen's handmaidens will prevail and bear him off to death in the underworld …
And this was written for puppets? Unpromising? Not in the hands of this writer and this company.
In black box theatres, on a good day with a good play, you can hope for immediacy and atmosphere … the spectacular, maybe not. Surprise. This piece is directed (by Vik Sivalingam) and staged with economy of means and abundance of imagination (set by Nik Corrall, costumes by Charlotte Randell), including at least two transformational coups de theatre that are literally breathtaking. I can reveal the plot, but these you have to come and experience for yourself. All this was enhanced by clever and resourceful lighting (Jason Osterman), hackles-raising sound (the Chorus and Austin Spangler - loved the amplified shears!) and some beautifully-gauged music by Alejandro Pelaez.
I seem to have begun with how the thing looks and sounds, and I'll leave it that way - it is a hallmark of this production, and pretty exceptional in fringe theatre - but this is not to detract one iota from the text or the company's delivery of it. The ongoing "thing" about the speaking of verse has become a bit of a bore, I know - why do so many actors gabble classical text, these days? - but here we have new verse writing, quirky, poetical and arresting … and delivered with relish and clarity, in particular by Vera Chok (a compelling Ygraine) and Freddie Machin (engaging and poignant boy/man Tintagel). As the eunuch Aglovale, Adrian Gillot (sic) is particularly adept in understating the text, as befits his unavailing yet illuminating character, while Caroline Kilpatrick's ever-almost-lacrimose Bellangere's words rightly speak louder than her actions.
This leaves the chorus, the "handmaidens" (read Fates), whose task (apart from offing Tintagel, that is …) is to induct us into the world of the dark tower, the powers at play, the inevitable outcome and the language in which we are to hear all unfold … oh, and a few gags into the bargain. Yes, there is light relief in there, I'm glad to say, but of the kind that is wholly in keeping with the sardonic attitude of this fateful threesome, whose otherliness is beautifully expressed in both costuming and movement, the latter I would think offering more than a nod to Maeterlinck's original marionette vision.
We are also Time Out's 'Best of Fringe' again:
You can still buy tickets here
Tuesday, 9 February 2010
Oklahoma!
The year after Kiss Me Kate we went from staging one play a year to three. The first was Oklahoma! and it is, to date, the last musical I've been involved with.
I played Will Parker opposite two different Ado Annies, Ros and Cat, which was great for me because I got twice the rehearsal.
During one show my mind went completely blank during one scene, and to the horror of Ros, instead of saying my line I launched into the first line of 'All 'Er Nuthin' long before the orchestra were expecting it. The musical director was not pleased.
Will Parker's solo effort is 'Kansas City'. The choreographer, Ann, came up with a tap dance routine for it. I had never tap danced before and I have never tap danced since, but I think I got away with it. I'm reliably informed that it ended with my asking Aunt Eller, played by Eleonore Mills to dance. It's not surprising that I needed to be reminded since apparently I regularly forgot to instigate it. Quite what filled the void I was leaving, I've no idea. Ann's notes for the dance routine are below. Looking at it now I can't quite believe I ever did it.

For some reason I'm both hatless and wearing very conspicuous and incongruous trainers in the photo below.
And here are a couple of reviews:
WHATS ON IN WANTAGE
Reviewer: Harold Brew
May 2000
Oklahoma was the first of the new American musicals to come to London after the end of the last War. War weary audiences at Drury Lane theatre were stunned by the show's youthful vigour and tunefulness. Rodgers and Hammerstein at their very best. Britain's situation has changed but King Alfred's School continues the tradition of a first class entertainment for the Town with this production.
The play captivates the audience from the first note. The male lead, Curly, has a peach of a part with his first song starting off-stage. Alec Richardson brought an intriguing, impish interpretation with his fine singing and stage presence.
Sub-leads were cast cleverly, Ros Harries and Catherine Millard sharing the comedienne Ado Annie with not a ringlet between them. Her partner Will Parker (David Williams) underplayed well opposite this female handful. Aunt Eller (Eleonore Mills) was perfectly made up as an old woman. (Is she really a student?). Here we saw mature acting and ability to hold the show together. The words can suffer when achieving an American accent. Juds (sic) Fry (Stuart May) was not helped by nervousness but has a singing voice worth attention. Smaller parts Ali Haki (sic)(Robert Tidbury) and Carnes (Venura Perera) were filled with humour. As for Laurey (Clare O'Donnell) - season King Alfred watchers have been awaiting Miss O'Donnell for some years and were not disappointed. She was splendid in every way, singing, acting, stage craft, looks and must be welcomed at any professional audition if that is what she wants to do. But no voice should be pushed beyond its natural limit. Ann Robson devised choreography to suit actors with little dance experience. David Williams' Kansas City and a stage full of pretty dresses in Many a New Day will long be remembered.
A mature orchestra under Jane Cockerill enriched the show.
The Modern, comprehensive, co-educational King Alfred's inspires loyalty in it's teachers even more than the old grammar school. It is to a group of assistant staff, who in many cases have given much of their professional lives to the school that we must pay tribute for producing, out of normal hours, a bench mark in extra curricular activities - the annual musical at KAs.King Alfred's Sixth Form Chronicle
Reviewer: Lucy Scholes
Easter 2000
We Bid A Persian Goodbye To Oklahoma!
Last month saw the performance of the latest school performance of 'Oklahoma!' For those of you who are fortunate enough to not know the play, it is set in the deep south of America at the beginning of the century. A story of stubborn lovers, a jealous farmhand and which ends with the three-marriage scenario and the death of Jud Fry (the afore-mentioned farmhand). Against these odds the cast, headed by members of both the lower and upper sixth put on a performance well worth watching, if only to see David Williams as the spitting image of Woody from Toy Story. Clare O'Donnell and Alec Richardson as the lead roles did a fantastic job. These two were supported by Ros Harries (played by Catherine Millard during the matinee performance) and David Williams as the two comical lovers of the piece. The other leads were played by Claire Bateman (with her amazing laugh), Robert Tidbury (proving the true comedy value of stick-on facial hair) and Eleonore Mills exercising her authority as the formidable Aunt Eller. Robert, as the ill-fated in-love Ali Hackim (sic), stole the limelight in most of the scenes. The orchestra were as professional as ever, with the backstage crew working hard and succeeding to prevent any costume, set or technical crises! The entire production team produced another top-class event; the hard work certainly paid off.
It seemed a pity that with the talent the school possesses it chose to produce a play that needed a significant number of male characters. The supposed 'male' chorus behind David in his brilliant tap-dancing routine was nearly ninety-nine per cent female. Perhaps a serious rethink of the choice of the school production would see the boys flocking back to the stage, certainly something a little more modern would be welcomed. (Any suggestions of suitable modern productions of which the copyright is available to buy - ed). Despite these drawbacks, they played to full houses practically every night and everyone involved deserves to be congratulated for the amount of work they put in. Perhaps in some cases a little too much was put in as at the cast party, many proved that they really were girls "who can't say no"!









