Big Pledge

So…here it is.

Simple enough really…
T’other day (Wednesday 02 November 2011) Jason was over and we’d been having a Bible study. Then I got all #essayface. Mum was taking Jason home and suggested I have just 10 minutes of praise & worship – I had an empty so I could put the music on loud and just lose myself in God for ten.
And so I did…
And it was amazing.

So here’s my pledge. I’ve pledged to do that every day for 100 days and just see where God takes me…and then 100 days of prayer.
It’s not easy!! But I’ve kept it up so far…

So, it needs to be every day.
Preferably during the middleish of the day if possible.
It must be minimum 10 minutes.
Church services or corporal worship meetings don’t count (but people can join me if they wish!!)
And it must be everyday for a hundred days.

And then ditto for prayer.

But I wanted to tell people so they’ll keep me to it…so here I am, telling y’all.
Bring.
It.
On!

Any Last Words?

“It was the best of times; it was the worst of times.”
- Charles Dickens, A Tale of Two Cities

My gap year has been a blitz. Sometimes I’ve regretted it. Sometimes I’ve loved it. I’ve done next to nothing that I planned to. I’ve done things I never imagined I could. I’ll write a proper blog post on my gap year soon but tonight my thoughts are ahead…

I start university tomorrow. I’m really scared. I feel unprepared and nervy. My hand is sore. I’m worried I won’t make friends. I’ve been talking about uni in the future – far future tense – and suddenly it’s here.

So I have some things to say.

 

To whom it may concern,

I do not promise to be an ideal student. Dear lecturers, I will struggle at times. I will leave deadlines to the last moment. I will have difficulty understanding (and I will blame it, in my head, on my dyspraxic way of reading the world). I will forget things. I will get lost. I will sleep in. I will get emotional at inappropriate moments and I will cry when I get frustrated. I will ask stupid, obvious questions because I’m nervous and want someone to say something in so many words for me. I will be desperately insecure sometimes. I’m sorry in advance for all of this. I promise that I will work AS HARD as I can possibly work – occaisionally too hard. I promise to go the extra mile (most of the time). I promise to connect, have relationship and share my life for the next four years. Thank you in advance for sharing yours.

Dear friends, I WILL get crazy with uni work. I might move away. Don’t be concerned – I love you all (particularly if you’re bothering to read this) and I WILL make time for you. It might take me a little while, but I promise I will always be thinking of you. You do have a special place in my heart and I will not forget you, even if it does take me a little too long to adjust to managing my time now.

Dear Jesus, I’m scared. Thank you so much that I don’t need to face this on my own, and that feeling alone is a total lie. Thank you that this is where You want me to be. Thank you that you care about me enough to care about this. Thanks for hanging out at uni with me, and my placement (though, if you could let me know when that is and if you could make SAAS get their bums in gear, that’s be lovely!) I’m excited about the support I’ll be having to keep you at the centre of EVERYTHING – even my studies – for the next four years. And I am excited to learn more about you, even if it does mean my head will hurt sometimes and I will question everything. Guide me through this – be Lord in my uni life!!

Dear young people who I have worked with – thank you for being who you are and making me who I am. I love you all…occaisionally!! Thanks for making me laugh and, I guess, thanks for making me cry. Thanks for breaking my heart for you and leading me to where I am. I hope you are all well in this moment. Thanks for letting me be a part of your lives.

Dear young people whom I will work with – we’re in for a ride together! I’m already praying for you. I will be insecure, imperfect and insufficient. I’m sorry for the mistakes I will make. I will be there and I will love you. I’m so excited about the part of your life I will be!! I can’t wait to meet you!!

Dear teachers – thank you for your input. Especially Mr Stuart Christie, David Berry (may it continue long!), Mick Fitzsimmons, Mr H, Mrs Ritchie, David, Dickie and the Narnians – thank you all for shaping me.

Mum and Dad, Simon and Carron – you’re the best. I love you. Thanks for being everything to me.

Most of you won’t read this ever – but I’m glad I wrote it.

Going forth into the future with strength in my heart – a flickering candle, but it’s there.

All love, always,

 

Rachel

x

The Rite

I had high expectations for this movie. A creepy, spiritual thriller-flick starring the closest man to Heaven: Anthony Hopkins. That’s him down there.

It also starred Colin O’Donoghue as Michael Kovak and Alice Braga as Angeline. That’s them there.

Now, in conversation I have heard a lot of people say they were sorely disappointed by “The Rite”. The Excorcist was scarier; didn’t deliver; wasn’t what I expected.

Gutted for you.

“The Rite” tells the story of Michael Kovak, a young man who flees to the priesthood to avoid becoming a mortician like much of his family. However, as he nears the end of four years of study and is soon to take his vows, he realises that he cannot commit himself to this life without a stronger faith – or any faith – and withdraws from the programme.

The Father Superior is not pleased that one of his promising students (aside from having failed theology in his exams) is trying to leave and instead sends him to the Vatican to take a course in exorcism (where he meets the beautiful Angeline).

Psycotic illness. Forgery. Reasons to doubt demonic possession pour out of him and so he is sent to Father Lucas, an old ex0rcist who lives with no-one but a bunch of Rome’s cats for company.

Arguments, demons, signs and wonders ensue. I’m trying to avoid spoilers (credit here please!)

I had gone expecting great things and I felt the movie delivered. Anthony Hopkins played a complete blinder. I’m so inspired by him (if I ever get an eighteenth that talented, I’ll die a happy woman!) and this made me roughly a hundred times more inspired. He’s so talented and the dramatic, intense ending was a really demanding scene for anyone else but he took it all in his stride and made. it. brilliant.

Colin O’Donoghue also put in a great performance, doing everything from scepticism to fear to confidence, faith, love… it was a well-layered character and he pulled it off well. The side-story with his mortician father and the death of  (I presume) his mother was, at times, a little confusing and misleading and the regular repetition of the flashback seemed a tad pointless and frustrating in that, but it was all eventually drawn together.

Alice Braga didn’t get as much opportunity for depth in her character as he had, but she played well. It could have been a very cliche part but she kept it nice and fresh and changing. Well done that lady.

I did expect it to be a little more frightening, but I’m not complaining. It was an enjoyable and creepy film that had a pleasant ending.

“The Rite” is based on a true story.

“Faith becomes you. Stick with it. Keep fighting the good fight with all thy might.”
          – Anthony Hopkins as “Father Lucas”

* * * * / – I’d recommend this to anyone, particularly anyone who appreciates quality acting above all else.

Hannibal Rising

Full review upcoming!

I Am Imperfect

It’s been a tough few weeks.

Actually, who am I kidding? It’s been a bloody awful few weeks.

But I’m turning a corner. I think. I hope.

I get scared. I’m so afraid of stress and of ending up as sick as I was when I was in 5th year. I thought I might be heading for that again. I still might. I’m terrified that people don’t tell me what they really think or feel and it’ll all come crashing around my ears one day. I have issues. Once burned and fifteen thousand times shy. I expect I’ll have to see a shrink about all that one day. Or see someone, at least.

I have guy issues. I’m lonely. I want to find Prince Charming. I seem to be surrounded by couples. Other people just find it so much easier to find a guy/girl than I do. Maybe that’s because I have issues. But I prefer to think it’s so Mr Right will be all the better when we do stumble together. I grew up thinking it was average to be married by around about my age. I haven’t even met him yet. I’m going to (comparatively) be an old maid by the time I got married. Me and my Dad (who was 26) in it together. I fall hard and fast. I’m dealing with the heartache.

I have work issues and career problems. I don’t know where my life will be next month, let alone next year. I’m still going to study at ICC, make no mistake about that, but it doesn’t mean I’m not totally freaking out over my lack of direction. I’ll have my dyspraxia assessment soon. Very soon, hopefully. I don’t know what that will be like but I do know the outcome will rule my life for at least the next 6 years.

I’m imperfect. I get paranoid and insecure and stressed out at the drop of a hat. I can’t take last-minute plan changing sometimes (but I think that’s a dyspraxic trait). I rarely warm up before I sing and I hate theatrical warm ups with a passion, although they don’t make me so nervous I get sick any more so that’s an improvement. I hate feeling fake so I show the insecurities and then I kick myself cos I feel like an attention-seeker, look at me, I’m so vulnerable, support me! That’s not how it is. I swear too much and my diet’s terrible.

Deal with it.

I seem to be.

I’m also wonderful.

Life is good today.

Some Quotes, Some Thoughts, and a Little Steam-Release

“I love working. I hate being on standby. I was on standby. I had been on standby for a while…I, on the other hand was full [of Gollum] and wanted to let it out. I was wired to the max.” – Andy Serkis on being an actor on standby, “The Lord of the Rings: Gollum: How We Made Movie Magic”.

Now, I’m no Andy Serkis. For a start, I have better hair.

And I’m not working on anything remotely close to the magnitude of LOTR. But I am on standby.

Understand me – I’m not writing this blog to whinge about being on standby, or to blame anyone for my stood-by state. Just letting off a little standby steam, s’all. And hopefully, for anyone who reads this, you’ll understand a tiny wee bit more of my psyche. That’s really why I write about being an actor – to allow people to peep behind the Green Room door and maybe understand me a bit better for it. I am an acting addict – I live and breathe performing, and a lot of people don’t really “get” this massive part of my life.

So back to standby. Grr.

Through many and varied circumstances, I haven’t performed anything in any TetherEnd rehearsals for over a week now – nearly a fortnight. Now I’ve been working on the script a fair bit. Reading it. Studying it. Scribbling notes and tweaks all over it. And thinking about it a lot – particularly when the shop’s quiet, I’ll run scenes in my head to make use of my time and see how far I could get.

Also, with some ups-and-downs right now, I’m so thrilled to have the show to be working on. I’ve blogged about this before…but I just feel so much better when I’ve got a show lined up. I don’t need to be working on it or performing it, but I need to know it’s there!

“Well, I may never touch it while I’m there, Nat. But what you don’t understand, all of you, is I’ve got to know it’s there – that I can have it if I need it. I can’t be cut off completely. That’s the demon in it. That’s what drives you crazy.” – Don Bradley on alcohol, “TetherEnd”.

Kind of like that. ^^^^

And my head is full of Helen, and there’s only so much I can do on my own. And she’s back on standby until Tuesday night at least. GARGH!

And…well…I’m really worried about the show right now. ‘Cos the lead male, Martin, is a professional (and supremely talented), the other principals (Marty, Val and Bresler) are all doing drama classes at the Ramshorn theatre and are all really good. And I feel about two inches tall sometimes! It’s thrilling and exhilarating to work with them; I push higher, try harder and generally work better alongside such talented people. However, it’s also exhausting to work alongside so many people who are better than me! I don’t want to give a substandard performance and let the cast (or the show in general, or myself) down. I’m having a long dark night of the theatrical soul!

“Unless the theatre can ennoble you, make you a better person, you should flee from it.” – Konstantin Stanislavsky’s advice to actors.

I think that’s probably pretty true. And so many people – so many baffled teachers, so many misunderstanding and well-meaning friends, so many acting Muggle relations – have asked me why. Particularly when I come in from work, tired and in pain and not wanting to go out to rehearsals; when I come in from rehearsals (well after midnight right now) and I’m wholly drained; when they see me in my current cat-on-a-hot-tin-roof state when I can’t get the show and the character out of my head and they’re driving me mad; when they see the tears, the frustration, the anger – so many have asked why.

Simply, because not acting is just not an option.

I was interested by this Oscar Wilde quote: made me think. And sometimes, I concluded, it’s true.

“Man is least himself when he talks in his own person. Give him a mask and he will tell you the truth.” – Oscar Wilde

 

Wherefore art thou?

Well, I have a hang of a lot happening right now. Some of it good. Some of it excellent. Some of it hurts. A lot. But such is life. *sigh* I always miss blogging. Just blogging. And music.
So what’s going on right now? Well, first and foremost at the moment (at least in my current train of thought) is ESTRADO! (That’s Spanish for ‘the stage’ and no, I’m not making a statement. Read on.)

Estrado is a brand new theatre company based in Partick (actually, it’s a co-operative, but let’s not split hairs) of which I am a part. The part, actually. I got lead female in Estrado’s very first show. Which also means I did my first – EVER – successful audition. I did said successful audition two days after I received knockbacks from two companies within a 24-hour period. As I realise that sentence was a little confusing, that means I got two knockback emails early on Sunday, and I did my Estrado audition on Tuesday night. That was some week. I had been totally panicked – very raw from knockbacks I was unhappy to get and having a seriously bad attack of the “what-if-I’m-actually-crap-and-then-I’ll-never-perform-again” fears. But my audition was very successful – and I got to play on Ida McCracken again, which is always lovely. Well, lovely’s probably the entirely wrong word but I do adore Ida. Ahhh, if only!

Anyway, that’s off-point. David Leddy’s genius can go on hold right now. Estrado. Our first show (Friday 21st and Saturday 22nd January, Partick Burgh Hall, just to mention) is “TetherEnd”, a gritty modern-day drama about Don Bradley, an alcohol-addicted writer and a study of how his addiction affects the people around him. It has some quite dark moments, but will stir thought in the audience and, as it is well and tastefully written, hopefully will raise awareness of the dangers of alcohol dependency. Show how much it can eat a person up. (And, who am I kidding?! I prefer dark, gritty stuff to nice drama. Not that I don’t enjoy a good giggle – but scare me and keep your show in my head. “Gothic, I think you’ll find, is the ‘genre’.” Well, it’s not technically gothic as it’s modern-day but you get the idea.) Oh, I should probably mention it’s a stage adaptation of the film “The Lost Weekend”.

Estrado is my happy thought right now. I’m really enjoying it. It’s a challenging part for me as an actor, and Martin (lead male) is really good, so I need to keep my game high. It’s so good to stretch my acting muscles, and to use what I can. Everyone’s really lovely, which helps. I feel like I’m doing not bad with the character (though I will be doing a lot better once I start being able, in any way, to master her bloody, bloody, BLOODY Edinburgh accent!!!) so that’s always good. The cast have been hanging out too, having a drink or two (most of us anyway…Martin *cough*) and just getting to know each other. Everyone’s fast becoming firm friends (or so it appears) and the atmosphere’s great. Many hugs, much banter and even some foosball envy.

But enough of Estrado before I talk consistently about only that. What else is going on right now?

I did an awesome interview at Lush (where they pampered us by demonstrating the products on us and teaching us massage, and gave us free products) but they didn’t want to employ me. I don’t know why. I’m kind of avoiding calling them for feedback, ‘cos, frankly, if they just couldn’t stand me, I can’t take it right now.

My work – as well as my lack of work – is a cause of much stress in my life right now though. Youth work is…draining sometimes. You question yourself constantly. Reflecting, evaluating – it can all become a cycle sometimes. I’m having a wee rough patch. I’ll pull through it eventually. All that needs said really.

So glad I’ve now got my JSA. I’m in the moneyyyy. Well, not really, but I’m not CONSTANTLY stressed about my painful lack of dough (and there might even be enough for a wee round or two of vodka cola with my buddies!)

Also…I’m supremely having fun with MMPi. What do you mean, you don’t know what that is?!?! Get yourself over to www.mondaymorningpost.co.uk and check out my weekly writings! (And those of the lovely Jennie and wonderful Simbobalino, of course!!)

Sub Rosa Review!

RE: EDIT

Having posted this on Twitter and Facebook, I was moved that David Leddy had read this review and sent me some comments! Taking them into account, I’ve changed some thoughts I had and have edited accordingly. My humblest apologies for any offence caused!!

Sub Rosa 

Gothic, creepy, unsettling. It’s grotesque. A complete masterpiece. *****

Having seen David Leddy’s multi-award winning “Sub Rosa” once before, I arrived at the Fringe with sky-high expectations and I was not to be disappointed! Sure, I was preparing in my head to review and yes, no-one’s perfect (sorry Mr Leddy!) and so there were one or two points which grated. But they were miniscule. I’m a huge fan, and I was irresistibly drawn into the seductively dark world which Leddy creates. I loved the adaptation of the script to fit the Masonic Lodge and truly, truly impressed by the stellar cast, who were rightly competitors for the “Best Acting Ensemble Award” in ‘The Stage Awards for Acting Excellence’. Hard luck on their loss, but congratulations on the Angel award!

Because of my love for script, location and cast, I’ll talk about the bad stuff first. I’m trying to be as balanced as possible, but they truly are tiny points.

1. Václav

SORT OUT YOUR PAUSES! There felt like far too many. If that is the actor’s interpretation, fair enough, but I think it could have flowed better. Also, I was disappointed to feel a few times that he froze rather than paused and I did think once he had forgotten his line.
Despite this…he is my preferred actor for the strongman and he did a truly wonderful job. I don’t want this point to seem like I thought he was bad, cos…he really, really wasn’t!

2. Angus MacNeil’s Tea-Drinking

This one did wind me up. I have a personal bug-bear with this one, because I’ve managed it onstage and I’m an amateur!
HIS CUP WAS EMPTY. Not only that, but I walked past his cup (sitting in the middle of a table) to sit in front of him. It’s a tiny point, but…something in the cup is not hard. Or sitting the cup somewhere the audience can’t see inside it?

Having said all this, he remembered to swallow, and timed it perfectly, which impressed me and pretty much made up for the empty teacup.
EDIT ALERT! Apparently there was MEANT to be something in the teacup. My humblest apologies. Everyone makes prop mistakes like that from time to time and this makes the perfectly timed swallow more impressive. Sincere apologies.

(Set restrictions meant that the footstomp had to go, which is infact a shame cos it was really effective.)

3. Setting the Scene

Now, this probably isn’t a poor point to cast, director or lighting director as the venue was borrowed and I presume there were restrictions on it. However, I found the lighting rigs (and an amp in clear view, guys!) a little distracting.
This was the main point that David Leddy dealt with in his email. I felt really bad when I read it, to be true, cos I should have seen his point from the start. Again. may I offer apologies if I seemed at all negative here! Let me leave you with the words of the man himself. “Sub Rosa is a piece about seeing behind the theatrical illusion, not about creating an immersive Victorian environment. Hence me shining light on the workings, not hiding them. Sub Rosa exists in several places at once, in the Winter Palace , in the Masonic Lodge (or the Citz), in a Fringe theatre venue and implicitly in all theatres at once. It is very important to me that we slip between those worlds rather than create a Victorian film set, which would be obvious and banal.”

Also, when I glanced to the back of the hall (looking around the impressive room) during Ida McCracken’s speech, I did want to kill the sound engineer standing up in plain view. Tut tut.

Aaaaaaaaaaaargh, I feel like such a dissenter! I’m sorry! That’s all, I promise! On to raving about it, right away! Now, anyone who knows me knows that I am, as far as performance goes, a perfectionist. And, frankly, I’m a snob. I confess them both. My first words of praise need to go to Mr David Leddy, playwright, director and general extraordinaire.

I read Shakespeare for fun. I take note of a good playwright, and Leddy is better than most. Every word, every stomach-turning phrase of Sub Rosa is selected with skill and care. For example, when I saw at least three people in my group flinch or shudder at how “You can still recognise him, from the dark, rosy scar where Flora tore away half his cheek with her teeth.” If it had been “You can still recognise him, from the scar where Flora bit his face.” the impact wouldn’t have been there. Leddy is a master and has crafted an incredible world. Anyone who has seen (or even read) Sub Rosa can’t quite explain why we are all so enchanted – obsessed – with such a gruesome piece of work, but those inside the world of Sub Rosa comprehend it perfectly. He’s a true inspiration – if I can ever write anything half as good as David Leddy

A nod to the guides. Now, I love the guides. Something about their eerie, quiet presence just sets the whole scene. They’re tricksy though! >>SPOILER ALERT!!<< I had been totally taken in by the history of the Citizens Theatre, and was delightedly shocked to discover upon on the script that it was all fake. I was awaiting the falsified history of the Masonic Lodge (fascinatingly drawn) and couldn’t help but feel smug as I watched the other audience members lap it up. Then I started listening to an online interview with David Leddy about the play (you can check it out here: http://www.theatrevoice.com/listen_now/player/?audioID=887) to discover that no, it didn’t take over a year of struggle with the Masonic brothers, the City Council and the Fire Department, it all happened pretty smoothly. Mr Leddy, you got me again. >>hat off.  END SPOILER.<<

And now for the cast. Well, let me point out first that it’s a hellish challenge to be so close to such an intimate little audience, to monologue for so long, in such an intense atmosphere and do sevenish shows a night, particularly when you don’t start until 10.20pm! Sub Rosa is from the offset a challenge for any actor. This cast rose to it spectacularly. I was enchanted, drawing on their every word, reliving my first adoration for the play afresh as the actors looked me in the eyes and reeled off their tales. I was moved by the sheer, exhausting intensity of their emotion – angry at the injustices they described, laughing at the Merkeley sisters’ antics (and Václav’s decoupage), feeling my heart wrench for the wig master. And afraid. Constantly afraid. Heart racing, breath catching in my throat, at once exhilarated and terrified. Every single cast member was incredible, and all truly set a standard to attain for a wannabe like me.

Particularly I have to give a nod to Claire Dargo, playing Ida McCracken, a bitter, wounded, terrified chorus girl and (thus) a gentlewoman of lenient virtue. I would dearly love to play Ida McCracken one day, and if I ever did Ms. Dargo would be the standard I would look up to. Without even the aids of movement that the other actors used (she sat in a chair throughout) she had me totally entranced, she was just incredible. And even though I knew the story, when the ending came and she leapt up, her terror, the look in her eyes had my heart trying to break free of my ribs. I couldn’t take my eyes off the ceiling, and I truly don’t think I’ve ever seen anything more chilling than her exit under the illuminated and eerily glowing:

“Brotherly love, relief and truth.”

Even sitting at my computer, remembering it now, I feel like I’m being watched. Truly amazing. Well done all.

* * * * *

Sub Rosa Credits

Adam McNamara – Svaty Václav, a Continental strongman, contortionist and posturer.

Angele Darcy and Isabelle Joss – Millie and Dillie Merkeley, patter artistes and Siamese twin princesses.

Benny Young – Angus MacNeil, a wig master and widower of misanthropical countenance.

Isabella Jarrett – Mrs Thorn, an ageing mother in reduced but respectable circumstances.

Claire Dargo – Ida McCracken, a chorine and (thus) a gentlewoman of lenient virtue.

Guides – Sharon Beck, Edd Crawley, Leanne Foxwell, Matt Lacoste and Lynsey-Anne Moffat.

A Fire Exit production, in association with Citizens Theatre, Glasgow

David Leddy – writer, director, rehearsal blogger and all-round in chargey.

Producer – Di Robson of DREAM

Production Manager – Chris McDougall

Stage Manager – Laura Walshe

Lighting Design – Nich Smith

Sound Design – Graham Sutherland

Dramaturg (what is that exactly?) – Douglas Maxwell

Design Assistant – Stef Smith

Associate Producer for DREAM – Niloufer Sagar

Junior Producer for Fire Exit – Mhairi Hetherington

Public Relations – Liz Smith

LED Lighting – Artistic Licence

 

“It is dangerous to be right when those in Power are wrong.“

A Pre-Blog: “Once More With Feeling”

Okay, so I WILL (I promise, dear reader!) write a full soundtrack review (full of musical, unintelligable geekisness) for OMWF (as well as Repo! The Genetic Opera) but I had to let of some fangirl steam beforehand.

It’s awesome.

Joss does himself proud and the composition is well-balanced to the actors. James Marsters (Spike) and Anthony Stewart Head (Giles) get bigger numbers and more solo lines. As they’re both talented, professional singers and musicians, this makes sense! Most of the melodies are fairly clear-cut and simple, which works for a cast I would guess is largely unmusical.

Buffy’s melodies are clear and piercing, encouraging the viewer to remember her numbers. James Marsters works on big rock numbers which he seems strong in and comfortable with – he has a rock-singer’s raw tone to his voice. (And yes, okay, it’s pretty ooofty.) Giles gets gentle “British” melodies, working his baritone godly tones on sweet harmonies and antiphonal descants. (Geekspeak translation: question-and answer, but he sings above the melody). Amber Bensons was a dark horse, her clear and pure soprano supremely easy on the ear and very lovely.

I love Sweet, the demon. “Don’t'cha like my…style? *the suit changes colour*”.

But I shall go now, and this blog shall be properly written later. A full review. As Willow puts it, “I think this line’s mostly filler…”

A Word on Murray Gold

I have to say it – Murray Gold is a genius.

For those of you who aren’t complete and utter music geeks, like me, Murray Gold is a fabulous contemporary composer* who works for the BBC and is best known for his work on “Doctor Who” and “Torchwood”. All the music that appears on both show is his.

(* Also for those of you who aren’t complete and utter music geeks: contemporary composer does NOT mean he writes contemporary music – but simply that he’s still alive and still writing away!)

In listening to him (I’ve always been a fan) I have become increasingly impressed by his work. Firstly, consider the show: Murray has written the new versions of the Dr Who theme tune and will, henceforth, go down in history. A mammoth task and he has, largely, left me very, very impressed with it. (Other than Matt Smith’s first season – all French horns and muted trumpets? It’s a bit Richard Wagner for me, but it does work.)

Other than that, I would urge you, dear reader, to consider the vast scope of music he has to write (on a one episode-per-week basis He’s also a fastidious deadline-meeter). And even stylistically, he has very different pieces in his reportoire, so to speak. I’ll give you the lowdown on just a few of my favourites, but all of his pieces are fabulous and any one of them could feed an essay.

The Doctor Forever (written for David Tennant’s Doctor)
Opens with a haunting upper string melody (in a minor key, so it sounds sad) and vocals (in a mjaor key, so they sound uplifting). After some key-switching, a choir is heard: a warm, full sound against the cold strings. This theme, repeating later with the addition of brass, gives a warm, hopeful sound against a melancholy background: perfect for David Tennant’s Doctor, saving people, and being incredible against such terrible pain in his heart which was never far from the surface. (The fun little arco strings melody and the bassoon theme later fit his zany-ness!)

The Master, Vainglorious (written for John Simm’s Master)
One-two-three-four. There’s so much in this piece of music. The harsh, discordant, clashing chords (one-two-three-four) make the drumming four-beat rhythm unpleasant, harsh on the ear, underpinning the Master’s hatred of the sounds. The electric guitar thunking away and the wavering synthesizer give an appropriately futeristic and unknown feel to the piece (appropriate, that is, for a man who wants to create a new world) while the unnerving slides on the strings create a sound likely to drive you just as insane as the Master.

UNIT (United Nations Intelligence Taskforce)
Thundering timpani, hard brass, bass drum and sharp, staccato (short notes ) string themes create a cold, army-type feel to this piece, written for the army against the extra-terristerials.
Theme and variation create an increasingly agitated feel as the theme moves higher and higher each time.

And I need to go and make phone calls, so I’ll leave it there.

For now!