Once Upon A Time Lord

[Paul Monk]

Really enjoyed it, well done chaps!!

Glad you were won over in the end, Andrew. I really loved the idea of doing a post modern fairy tale story but wanted a more rational explanation.

[Richard Brinck-Johnsen]

I'm halfway through relistening at the moment so just a few thoughts before I carry on with Part Two...

Love how grumpy Ed is and the "Whaaat!" at the end of Part One has become my catchphrase of the week. Evenso Martin's central performance still manages to make Ed really likeable.

The scenery chewing scenes with the Queen and the Mirror are superb.

Love the music (as much I've loved spotting cues that have been borrowed in the other releases having an original score really adds a whole new level to this play).

Love how much "The Wizard" sounds like William Hartnell during the scene where fails to recognise Ed.

[Si Hunt]

Paul will be pleased to hear you liked that bit as I know how much he liked writing and playing it!

Si.

[Richard Brinck-Johnsen]

Overall really liked this one:

Loved the exchange of bitchy comments between the Doctor and Ed during the sword fight.

Especially loved the very ending. Those children are adorable

[Ian Lethbridge-Stewart]

Love the music (as much I've loved spotting cues that have been borrowed in the other releases having an original score really adds a whole new level to this play).

Why thank you very much kind sir.
If you really liked it; it is available to download here

[Paul Monk]

Love how much "The Wizard" sounds like William Hartnell during the scene where fails to recognise Ed

Glad you noticed. I had been practicing my Hartnell!

Especially loved the very ending. Those children are adorable

The little boy is William, my little boy! He loved recording that. The little girl is Si's niece and she sounds bonkers (in a lovely way)

[Si Hunt]

Well, she does have me as an Uncle. It was always going to be that way!

Si.

[brandynigma]

The scenery chewing scenes with the Queen and the Mirror are superb.

You're far too kind, sir.

Susan is amazing in those scenes. I find myself cowering by instinct when she bellows, "Imbecile!"

[Richard Brinck-Johnsen]

You're far too kind, sir.

Susan is amazing in those scenes. I find myself cowering by instinct when she bellows, "Imbecile!"

She was great and she had me regularly reaching for the volume control on my smart phone. I'd love to have filmed my reactions whilst I was listening to this one as it must've been very odd to see for my desk colleagues.

Putting my acting hat on for a minute Brendan I hope I'll get the chance to work with you at some point.

[brandynigma]

She was great and she had me regularly reaching for the volume control on my smart phone. I'd love to have filmed my reactions whilst I was listening to this one as it must've been very odd to see for my desk colleagues.

Putting my acting hat on for a minute Brendan I hope I'll get the chance to work with you at some point.

I think I've got a part at the next recording- talk to SiHart for more details!

When he's back from Spain, obviously.

[Richard Brinck-Johnsen]

4.2 Once Upon A Time Lord

Having taken the interesting step of presenting Ed's leaving story as 4.1 (which will be next review just to confuse matters!) we now step back to sometime after the events of The Wealth of Craytians to discover Ed stuck in a strange world in which he seems to be part of a story being narrated by Si Hart. A very interest conceit by the play's author, the Doctor himself, Paul Monk.
Interestingly we are given an almost Doctor-less first Episode however Martin Penny as Ed carries this brilliantly. Every line is well delivered to maximum comic effect.
I've produced what follows of this review as something of a live commentary:

Jumping back I love the whole pre-credits sequence especially opening with “Are you sitting comfortably”. Si is perfect choice as narrator for this.
Queen Polcrina (have I spelt that right!?)- love the name!
Love the fanfare when Edward of Bradley gets mentioned.
Nice contrast when we mix to the farm yard.

“But no, coffee hasn’t been invented yet…”, “And I can imagine a lot” Love Martin’s delivery as I said.
Ashley is great throughout as Buttercup the fairy!
Love Martin’s impersonation of Ashley.

Love Susan chewing the scenery as Polcrina.
Oh Brendan! The Mirror almost steals the scene when he first appears but overall the Queen and The Mirror are a great double-act.
Love Susan’s evil laugh.

Speaking of double-acts more great stuff from Martin and Ashley in the next scene.

Nice blending of Andrew’s music (on which more later) and the sound effects to create the Forest of Doom.
Like the tree voices. Especially when they start apologising and arguing.
Like the comedy cue when the realise Ed and Buttercup have gone.

Love Ed’s description of the Doctor especially “probably mentioned tea at least once” (grin)

“That makes me River Island.”

Something familiar about Red Riding Hood. There are some clever clues planted of what's to come, especially the “help me” bit.

Ed and Buttercup get eaten! Nice Wolf Mr Hunt.

Mirror seems even camper in next scene.

Like Riding Hood giving Ed a slap.
Ed “arguing existence with a character from a kid’s story”!
Like the woodcutter. Actor playing him sounds familiar
Like the Red Riding Hood characters all being chummy even the wolf
Ooh! A wizard. And yet you just know who it's going to be!
Love Paul going all Hartnell “you child, of course it’s you” and that chuckle.
“and a Jed, two heads big hair, not very good singers”- just love it!
“The village fete of death…” another lost classic!

“Kill him!” Love it!
“Die Edward Bradley Die!” “Whaaaat!” This has got to be one my favourite ever cliffhangers.

Overall a great first episode and done in such a way we don't really realise we've missed the Doctor.


Part Two:

Having Hardly appeared in episode one, The Doctor arrives and is very much at the centre of events for the whole episode proving that he has been missed however subconsciously. Indeed, I'd venture to say that Paul's Doctor has never been more heroic than he is in this episode!
Love the Doctor appearing just in the nick of time! And the return of the triumph cue- hooray! And Ed’s delight at the Doctor having remembered is lovely.
Love Buttercup going all robot computer like “non conforming elements must be removed.” Before the Doctor effectively reprograms him by going off on one.
Mirror even more high pitched. “That was a rhetorical question you nincompoop”-perfect!
A white void of nothing like somewhere else I’ve visited- nice touch!
Love The Doctor characteristically going off on one to Ed. No change there then. Somehow it works better here than it did in The Wealth of Craytians.
Love the fanfare again after “we rescue the princess”
Love Polcrina mocking Ed after going all Snow Queen on him!
More lovely narration. A great wizard frozen in ice. Very Merlin
The Wolf, The Woodsman, and The Fairy – that’s a potential story title!
Trying not to imagine Ashley in a tutu
Like Ed in thrall to the queen sounding so creepy.
Like this cue during the next patch of narration.
Ooh the princess is Red Riding Hood. Thought so. Nicely peformed by Katie.
“chap with the wings here” – love it!
Ooh! The Princess is dimensionally transcendental – that rings a bell!
Love the whole duel sequence, especially the Doctor and Ed's catty exchange of insults. Once again, in your pleasant open face Davison!
Wait a minute “kneel before Ed.” Oh so that wasn't Tor Garane then like I mistakenly thought when I relistened to the season 4 trailer.
Willing Ed to kiss his hand. Brilliant.
"How did you know that kissing myself would free me?" – best line ever!
Again, another lovely exchange between the Doctor and Polcrina as the truth is gradually revealed.
Aww, an unwanted book of fairy tales.
Ed really is a sloppy kisser!
“Hmm, you smell of bolser wood!” – 2nd best line ever!
“They’re either time machines or they’re trying to kill me!” – love it.
The final scene with Si and both children, William and Daisy, both clearly stars of the future, is adorable. Love the whole concept of Happily Ever After Day with the Doctor as a Father Christmas figure coming to give the children presents.

To sum up with some very clever ideas, a great original score*, super post-production as ever, and the whole cast clearly giving 100% I feel I have no option but to award this lovely play...


10/10 !!!

*Bonus review/commentary-
Once Upon A Time Lord - Original Score by Andrew Clancy


Suite 1 – Love the Dominic Glynn-esque opening morphing into a Pop Goes The Weasel, the effect of going into a minor key for the weasel is very simple but so effective.
The subsequent themes are very simple in terms but so effective.
Again there is a real 1980s Dominic Glynn feel about this. I almost feel as if I’m listening to the OST of The Mysterious Planet with bits the Radiophonic Workshop music for The Box of Delights and Look and Read thrown in.
Love this minor theme on a church organ.
The sinking notes for wont of a better description have a lovely effect.

Suite 2- Love the theme at the start of this. Very bright and jolly. Love the jeopardy suggested by the next theme.
Love the fanfare morphing into a comedy cue.
Like this repeat of the minor theme from suite 1 but like the vocal sound as a contrast to the church organ.
Love how children’s TV-esque the next theme is with a mix of notes and percussive effects with a hint of Inspector Gadget.
Another very Doctor Who sounding theme with a lovely feeling of growing jeopardy just by shifting up a key and a slight crescendo.
Nice repeated string notes!
Ooh this next bit has gone a little bit Vangelis. Like the little understated harp moment.
Lovely use of a simple arpeggio rising and falling.

Suite 3 – Again wonderfully Children’s TV-esque. Can’t think what this is reminding me of. Watt on Earth perhaps? Also a hint of Enlightenment.
The minor theme again repeated on pipes.
This music really feels like it’s telling a story.
Like the juxtaposition of the arpeggio with the piano theme.
Like the wind sound accompanying this.
Ooh almost like a minor version of the Star Trek opening.
And again another Vangelis moment. I’m getting a Blade Runner vibe and then very much back into Glynn’s Mysterious Planet territory.

Suite 4- A new variation on a previous theme with some lovely added bass effects.
Love the fairytale feel. Repetition of single notes and sounds is so effective.
Teddy Bears Picnic almost subconsciously hidden there. Very clever.
Just love some of these sound effects.
Love this little theme that punctuates the end of some of the sections.
Like this regal almost Roman sounding theme.
Minor theme repeated again this time very much Baroque in style.

Suite 5 – Like the slow moving happy ending feel. Love the birdsong and other effects. The Glissandos and the bells.
Nice fanfare.
More Interesting sounds.
Clever use of the Doctor Who sting.
Some of this is halfway between Doctor Who and The Tripods.
Nice piano theme. Again simple use of arpeggio.
Again good of use Baroque style harpsichord for this next theme. Like the understated drum beat as well. Love the simplicity of the trill at the end to give a final flourish.

[SiHart]

I really like this one. The fairy tale setting works really well, giving it a very different feel to any other PS Audio and the twist makes sense of that setting rather cleverly I think. I do like the way the listener is as bewildered as Ed is for the first few scenes, though I think Ed might be a bit too grumpy!

Excellent performances- love Ashley's rather grounded, sensible fairy contrasting with the OTT performance from Susan (I had to leave the room beacuse I was laughing so much while she recorded her lines!) and somehow I seem to be the voice of sanity, calm and reason in this one, which is nice!

It's wonderfully made, with the whole world sounding great- Si's production is, as always, spot on. Adding Andrew's music made this one a bit of a treat!

[Martin Penny]

I loved this one too, really enjoyed recording my lines for it (and I was wasn't even in the room!). Very much enjoyed voicing the evil-Ed as well, and you're right Richard, he does sound quite Garane-esque when he says "Kneel before Ed!".

Paul's Hartnell style Doctor is great too, I wouldn't mind an entire adventure in which he plays his Doctor in Hartnell style!

[Paul Monk]

Paul's Hartnell style Doctor is great too, I wouldn't mind an entire adventure in which he plays his Doctor in Hartnell style!

NOOOOOOOOOOO!

And Richard, just read your review! Thats made my day!

[Richard Brinck-Johnsen]

I loved this one too, really enjoyed recording my lines for it (and I was wasn't even in the room!). Very much enjoyed voicing the evil-Ed as well, and you're right Richard, he does sound quite Garane-esque when he says "Kneel before Ed!".

Paul's Hartnell style Doctor is great too, I wouldn't mind an entire adventure in which he plays his Doctor in Hartnell style!

It was very cheeky of Si to put "kneel before Ed" into the season four trailer.

And as for the return of the Hartnell style Doctor... wait what's that buzzing noise?
Oh no! Si and Steve have sent the time bees after me to prevent me saying any more about an idea I haven't even pitched yet!

*runs away*

[SiHart]

They've come for you... THE TIME BEES!

[Paul Monk]

And as for the return of the Hartnell style Doctor...

You mentioned this on saturday!

[Paul Monk]

By the way don't ever get me talking about Once. I could ramble on about it all day.

[SiHart]

Hmm? What's he talking about? Hartnell style Doctor? tut tut! Hmm?

[SiHart]

By the way don't ever get me talking about Once. I could ramble on about it all day.

I think we're all like that about our own stories Paul, as anyone who's ever mentioned Heist! to me knows!

[Ian Lethbridge-Stewart]

Wow! What a surprise - a bonus review of my music!!
I'm a bit overwhelmed to be honest - I thought the music would probably get a mention but I never thought it would be in so much detail.

I put together the suites that Richard has reviewed using various cues from the story (plus a few that didn't make it)

I apologise in advance but as Richard has taken the time to post his thoughts on the soundtrack I do feel that I should respond. However I suspect that my answer will probably be as exciting as watching paint dry, or watching 'Terminus' to anyone who is not interested in music (especially the technical stuff - of which I think Richard probably has a better grasp of than I do).

As I want to respond properly I will have a look indoors tonight and will reply later, so you are all safe for a few more hours!

But I have to just say thanks again Richard - I'm still in shock!

[Richard Brinck-Johnsen]

My pleasure Andrew. It was more of a live commentary whilst relistening to them last night so some of the remarks are less intelligent than others. I wish I'd picked up on more of the themes when I was listening to the story itself but I got carried away with the narrative so whilst the music was a very integral part I tended to sideline it in favour of comments on the plot and characters in the main review.
I look forward to reading your further comments later.

[Ian Lethbridge-Stewart]

[U][B][CENTER]*Bonus review/commentary-
Once Upon A Time Lord - Original Score by Andrew Clancy


Suite 1 – Love the Dominic Glynn-esque opening morphing into a Pop Goes The Weasel, the effect of going into a minor key for the weasel is very simple but so effective.
The subsequent themes are very simple in terms but so effective.
Again there is a real 1980s Dominic Glynn feel about this. I almost feel as if I’m listening to the OST of The Mysterious Planet with bits the Radiophonic Workshop music for The Box of Delights and Look and Read thrown in.
Love this minor theme on a church organ.
The sinking notes for wont of a better description have a lovely effect.

Suite 2- Love the theme at the start of this. Very bright and jolly. Love the jeopardy suggested by the next theme.
Love the fanfare morphing into a comedy cue.
Like this repeat of the minor theme from suite 1 but like the vocal sound as a contrast to the church organ.
Love how children’s TV-esque the next theme is with a mix of notes and percussive effects with a hint of Inspector Gadget.
Another very Doctor Who sounding theme with a lovely feeling of growing jeopardy just by shifting up a key and a slight crescendo.
Nice repeated string notes!
Ooh this next bit has gone a little bit Vangelis. Like the little understated harp moment.
Lovely use of a simple arpeggio rising and falling.

Suite 3 – Again wonderfully Children’s TV-esque. Can’t think what this is reminding me of. Watt on Earth perhaps? Also a hint of Enlightenment.
The minor theme again repeated on pipes.
This music really feels like it’s telling a story.
Like the juxtaposition of the arpeggio with the piano theme.
Like the wind sound accompanying this.
Ooh almost like a minor version of the Star Trek opening.
And again another Vangelis moment. I’m getting a Blade Runner vibe and then very much back into Glynn’s Mysterious Planet territory.

Suite 4- A new variation on a previous theme with some lovely added bass effects.
Love the fairytale feel. Repetition of single notes and sounds is so effective.
Teddy Bears Picnic almost subconsciously hidden there. Very clever.
Just love some of these sound effects.
Love this little theme that punctuates the end of some of the sections.
Like this regal almost Roman sounding theme.
Minor theme repeated again this time very much Baroque in style.

Suite 5 – Like the slow moving happy ending feel. Love the birdsong and other effects. The Glissandos and the bells.
Nice fanfare.
More Interesting sounds.
Clever use of the Doctor Who sting.
Some of this is halfway between Doctor Who and The Tripods.
Nice piano theme. Again simple use of arpeggio.
Again good of use Baroque style harpsichord for this next theme. Like the understated drum beat as well. Love the simplicity of the trill at the end to give a final flourish.

Ok, here it is the reply to Richard’s post about the soundtrack. If the music doesn’t interest you please skip this post now – otherwise boredom is certain!
This might even top my post on the subtle differences between the Sid Sutton title sequences as the most boring post ever!

Firstly, most of Richard’ observations and my comments about them are not things I would expect anyone to have noticed when listening to the play. The dialogue is what you should probably be concentrating on – especially when it’s as good as it is.

I don’t really expect anyone to sit and think about the music in isolation. Having said that, it is very nice that somebody has – once again thanks very much Richard.

Ok, here goes – wish me luck!




Suite One
I wasn’t aiming for a Dominic Glynn sound as such, but as reviews go, I’ll gladly take a comparison to him!
The Pop Goes the Weasel thing (the change into a minor key by altering the penultimate note of the melody) was something that I thought of as I was recording it. Like Richard says it is simple but quite effective – it was designed to just feel a bit sinister at the end and to make you think – something isn’t quite right here.
In hindsight I can see what Richard means about parts of it sounding like the music to the Box of Delights – again I certainly didn’t plan it too, but I love the music in that so I won’t complain.
Suite one introduces the ‘Queen Theme’ which is really simple in that it features two alternating minor chords, a semi-tone apart, set against a heart beat style bass line. I wasn’t sure whether to use it that often because there isn’t a lot to it – however Si Hunt used it as a test on one of the first scenes that he had edited and we both thought it worked very well, so I did a few more versions of it.
The minor theme again started out as a one-off, for the scene where Ed first meats the Doctor (when he’s just known as ‘the wizard’). I decided to have a strong melody and it was supposed to sound a bit wizzardy. The church organ version was just me trying something out; it didn’t make it into the story, but I think it works quite well in the suite.


Suite Two

The Jolly cue at the start is one of my favourite cues – it’s actually inspired by the first few chords of a jazz standard called “On the sunny side of the street” – it’s even in the same key! – The simple melody helps keep the chords as the focus (it unintentionally sounds a bit like one of Gary Newman’s tracks)!
The comedy cue was fun to do – especially helped by the “hair in a bob” line in the script! The percussive effects cue didn’t make it into the story, but to be honest I didn’t expect it to – although I like it; it doesn’t really fit the style of any of the other cues! – I just got a bit carried away when recording it! Next it is another outing for the ‘Queen Theme’; it is beefed up a bit with a bass line borrowed from one of my favourite tracks from the musical version of ‘The War of the Worlds’. This was designed to be leading up to the cliff-hanger which explains the crescendo effect and the rather manic strings! Much of this is in the play and is indeed used at the cliff-hanger to part one. There’s a small nod to Paddy Kingsland in there too.
The rising and falling arpeggio sequence is another favourite of mine. Si Hunt had commented that he liked the ‘2 beats to a bar’ style bass line so I used it here and added the arpeggios – I’m a bit mad on whole-tone chords and so I added a falling whole tone to the rising and falling arpeggios – I separated them into different channels to get a proper stereo effect so that it wouldn’t just be a mess of arpeggios! This leads into that eerie sound, deliberately chosen because it makes my hair stand on end! It sounds a little bit like the underwater music from parts of ‘Curse of Fenric’.


Suite Three
Not sure where I got the ideas for the first few cues in this suite, but I agree they do sound like kids TV themes! The really silly music, which I didn’t think would make it into the story, but amazingly it did, is my attempt to sound all 1960’s Radiophonic Workshop!!!
The next theme (another minor one, but different from the main one) is another one that I’m quite proud of – I did a version on the piano just because I thought it might sound nice. Part of it was used right at the start of part one behind Si Hart’s narration and I think it works very well. There is some annoying background noise in that cue, but you can’t really tell that in the play.
I’m not sure about there being anything that sounds like the Star Trek theme – I certainly didn’t plan that!!
Next it’s back to the ‘Queen Theme’ briefly and then the suite finishes with one of many brief linking cues that I made just to link scenes together, rather than accompanying a scene.


Suite Four
After the silly nursery rhyme bits we hear the Queen Theme – this is the last time it is heard in this style.
The fairytale section in this suite is my least favourite cue; I just think it drags on for too long and I wish I had shortened it – although I do like the Teddy Bears Picnic bit – now I will admit to a Dominic Glynn moment at the end of that cue!
I’m glad that Richard likes the regal theme; I can’t recall now why that one came about but it sounds a bit Paddy Kingslandy to me.
The next cue was I think the longest one that I did – it features both minor themes and finishes with some really punchy Keff McCulloch style stabs – this is another one that came out better that I expected it too – it was used during the sword fight between the Doctor and the possessed Ed.


Suite Five
The opening scene was meant to sound like a windy summers day (which I think was pretty much the brief I had from Si Hunt) – I sent him two versions, one with the birdsong and one without – I preferred the one with it in and thankfully so did Si (although that might be because it meant that he didn’t need to add birdsong himself)!
The Fanfare is ok (but the other one in the story, which I cannot take credit for, is better).
After a while we end up with the cue that accompanies the Doctor defeating the Queen. I am a big fan of blending different themes together when I can (if I think it may work). Here we have a very slow version of the Queen Theme with the first melody section of the Doctor Who theme over the top. It really helped me that the Queen Theme is really just chords and that heartbeat base – this meant there was no other melody to clash with the Doctor Who theme. It also helped that the Doctor Who theme fits quite well over the two minor chords of the Queen’s Theme.
The piano cue which follows (which is really just arpeggios) was inspired/stolen from an Oscar Peterson Trio number called ‘Nigerian Market Place’!
The final baroque theme was always designed for narration, which is where it was used. The trill at the end is very cheesy and stereotypical but it still works quite well (there’s a similar bit played on a guitar in the Jonathan Gibb’s King’s Demons score).

Well there we are – you can wake up now…….

I Said…..YOU CAN WAKE UP NOW!!!!

[Daktar]

links no longer work ;(

[Philipnet]

Links fixed