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The History Boys 艾倫．貝內特編劇 by Alan Bennett

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英國國家劇團《高校男生》 National Theatre of Britain The History Boys 艾倫．貝內特編劇 by Alan Bennett 演出及製作人員 ○○○○○○○○ Credits ○○○○○○○○○○○ 8 角色介紹 ○○○○○○○○○○○○ Characters ○○○○○ 12 特稿 Feature 艾倫．貝內特：我在牛津出貓的日子 On False Pretences by Alan Bennett ○○○○○15 訪問 Interview 尼古拉斯．海德拉訪談錄 Nicholas Hytner on The History Boys ○○○○○25 劇團介紹 Company Profile ○○○○○○○○○○○○○○29 除特別註明，所有照片 Unless otherwise indicated, all 生平介紹 photos (including the front cover) © Ivan Kyncl Biographies 演員介紹 Cast ○○○○○○○○○○○○○○○○○○○○36 艾倫．貝內特 ○○○○○ Alan Bennett ○○○○○○○○○○○ 41 製作人員介紹 Production Team ○○○○○○○○○○○○○○42 14 - 18.2.2006 香港演藝學院歌劇院 Lyric Theatre, Hong Kong Academy for Performing Arts 英語演出，附中文字幕 Performed in English with Chinese surtitles 為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。 節目長約 2 小時 45 分鐘， 包括一節 20 分鐘中場休息 To make this performance a pleasant experience for the artists and other members of Running time: approximately 2 hours the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. and 45 minutes, including a 20 Eating and drinking, unauthorised photography and audio or video recording are minute interval forbidden in the auditorium. Thank you for your co-operation. 演員及製作 Credits 《高校男生》The History Boys 編劇 艾倫．貝內特 by Alan Bennett 演員表 Cast 男生 The Boys 厄格沙 薩夏．達旺 Sacha Dhawan Akthar 克羅佛 塞繆爾．安德森 Samuel Anderson Crowther 達金 多明尼克．庫珀 Dominic Cooper Dakin 洛活特 安德魯．克諾特 Andrew Knott Lockwood 波斯納 塞繆爾．巴內特 Samuel Barnett Posner 律茲 羅素．托維 Russell Tovey Rudge 史格里斯 杰米．帕克 Jamie Parker Scripps 提姆斯 詹姆斯．哥登 James Corden Timms 教師 The Teachers 校長 馬爾科姆．辛克萊 Malcolm Sinclair Headmaster 林托太太 瑪姬．斯蒂德 Maggie Steed Mrs Lintott 赫特 李察．基菲夫斯 Richard Griffiths Hector 艾溫 史提芬．坎貝爾．摩爾 Stephen Campbell Moore Irwin 電視導演 科林．黑格 Colin Haigh TV Director 化妝師 帕米拉．梅里克 Pamela Merrick Make-up Lady 其他男生 約瑟夫．阿滕伯勒 Joseph Attenborough Other Boys 湯姆．阿特伍德 Tom Attwood 魯迪．達馬林甘 Rudi Dharmalingam 故事發生於二十世紀八十年代 The action takes place in a grammar school in 英國北部一所中學 the north of England, in the 1980s 8 製作人員 Production Team 導演 尼古拉斯．海德拉 Nicholas Hytner Director 設計 鮑勃．克羅利 Bob Crowley Designer 燈光設計 馬克．韓德森 Mark Henderson Lighting Designer 音樂 理查．西森 Richard Sisson Music 錄像導演 本．泰勒 Ben Taylor Video Director 音響設計 科林．平克 Colin Pink Sound Designer 口音教練 凱特．戈德弗雷 Kate Godfrey Dialect Coach 男生聲音指導 帕齊．羅丹堡 Patsy Rodenburg Company Voice Work 編舞 傑克．穆菲 Jack Murphy Choreographer 服裝管理 卡羅．林活特 Carol Lingwood Costume Supervisor 迪克．斯特拉克 Dick Straker (for Mesmer) 錄像投射設計 Video Projection Designer 助理設計 羅斯．庫姆斯 Ros Coombes Assistant Designer 副設計師 蒂姆．布斯德爾 Tim Blazdell Design Associate 職員總監 德里克．邦德 Derek Bond Staff Director 曼紐爾．哈蘭、伊凡．凱恩克 Manuel Harlan and Ivan Kyncl 攝影師 Production Photographers 副監製 帕德利．古薩克 Pádraig Cusack Associate Producer 巡演經理 查爾斯．埃文斯 Charles Evans Tour Company Manager 製作經理 安迪．瓦德 Andy Ward Production Manager 舞台監督 安德魯．斯比德 Andrew Speed Stage Manager 副舞台監督 邁克爾．帕薩勞 Michael Passaro Deputy Stage Manager 瓦萊里．霍斯 Valerie Fox 助理舞台監督／舞蹈隊長 Assistant Stage Manager/Dance Captain 舞台管理 馬田．馬敦 Martin Mardon Stage Supervisor 舞台技師 丹尼．奧尼爾 Danny O’Neill Stage Technician 西蒙．弗勞洛 Simon Fraulo 燈光設計助理、 Assistant to the Lighting Designer and Production 製作電工 Electrician 音響操作 克利夫．布賴恩 Clive Bryan Sound Operator 服裝主管 魯絲．麥金萊 Ruth McKinlay Wardrobe Mistress 市場推廣 魯絲．華特斯 Ruth Waters Marketing 宣傳 皮亞．德蘇扎、瑪麗．帕克 Mary Parker and Pia de Souza Press 中文字幕 黃奇智 Wong Kee-chee Chinese Surtitles 9 導演的話 From the Director 很高興國家劇團能夠參與2006年的香港藝術節。自2005年4月公演以來，艾倫．貝內特 這齣睿智幽默的劇作，在國家劇團劇院，以至英國各地都大受觀眾歡迎，誠然是劇團 最佳的文化大使。 尼古拉斯．海德拉 I’m delighted that the National Theatre is to be part of the 2006 Hong Kong Arts Festival. Alan Bennett’s wise and witty play has brought great pleasure to audiences at the National’s home, on the South Bank of the Thames in London, and all over the UK, since it opened in May 2004. It couldn’t be a better ambassador for our work. Nicholas Hytner 國家劇團工作室負責本次製作之設備、服裝、道具和家具、布景組建、繪景和頭飾。 《高校男生》2004年5月18日在利特爾頓劇院首演。 2006年1月23日至28日在利特爾頓劇院演出後，本組演員於下列地點巡演： 2006年2月14日至18日香港演藝學院歌劇院（香港藝術節）； 2006年2月24日至28日新西蘭惠靈頓聖詹姆斯劇院； 2006年3月4日至8曰澳洲悉尼劇院； 2006年4月23日起在紐約布羅德赫斯特劇院上演。 有關《高校男生》的介紹，可於nationaltheatre.org.uk/education網址免費下載。 On this production, the National’s workshops are responsible for: Armoury; Costume; Props & furniture; Scenic construction; Scenic painting and Wigs. The History Boys had its premiere in the Lyttelton Theatre on 18 May 2004 This cast played in the Lyttelton from 23 to 28 January 2006 before touring to: Hong Kong Arts Festival; Lyric Theatre, Hong Kong Academy for Performing Arts, 14 to 18 February 2006; St James Theatre, Wellington, New Zealand, 24 to 28 February 2006; Sydney Theatre Company, Australia, 4 March to 8 April 2006. On 23 April, the production opens at the Broadhurst Theatre, New York. A free workpack on The History Boys is available to download at nationaltheatre.org.uk/education 演後藝人談 Meet-the-Artist (Post-Performance) 17.2.2006 (五Fri) 歡迎觀眾演出後留步，與演員會面 If you would like to meet the cast, please stay in the auditorium after the performance 加料節目 Festival Plus 講座 Talks 我和高校男生有個約會 Meet The History Boys 16.2.2006（四） 16.2.2006（Thur） 下午4:00-5:00 4:00-5:00pm 英國文化協會 British Council (需索取門票） (Ticket required) 如何為國家劇團製作及策劃節目 Producing and Programming for a National Company 副監製帕德利．古薩克 Speaker: Pádraig Cusack, Associate Producer 17.2.2006（五） 17.2.2006（Fri） 下午4:30-6:00 4:30-6:00pm 香港演藝學院地下休息室 Common Room, G/F, Hong Kong Academy for Performing Arts (需索取門票） (Ticket required) 18.2.2006（六） 18.2.2006（Sat） 上午12:00-12:30 12:00-12:30pm 藝穗會 Fringe Club （需報名費） (Registration fee required) 詳情請參閱藝術節加料節目指南 For details, please refer to Festival Plus booklet 11 角色介紹 Characters 倫．貝內特在劇本前言中提 lan Bennett describes in his preface to 到，人物比主題更有吸引 the play script, how, for him, characters are more interesting than themes, and 艾 力，也是他的戲劇的起點。 A are the starting point for his plays. At the heart 《高校男生》有四個人物，他們對教學 of The History Boys are four characters, each 和學校都有不同看法。 with contrasting outlooks on teaching and school. 赫特是一位古怪的英語教師，年屆退 休。在林托太太眼中，他是一個「怪 Hector is an eccentric English teacher, close 人」，在校長眼中則是「我行我素的 to retirement. He is described as both ‘an 人」。他並不依從既定的教學方法，也 original’ (by Mrs Lintott) and as ‘a loose cannon’ (by the Headmaster). His teaching methods do 不重視分析技巧；他不理會學生是否 not follow a prescribed path, and are not 明白他講的課，只想到他們要是牢記 concerned with analytical techniques. He is not 書中的段落、詩和電影，日後自會明 concerned as to whether the boys understand 白和欣賞。赫特對考試不以為然，他 his subject, merely that they will have learnt by 教學不為別的，只為傳授知識。赫特 heart passages from books, poems and films 無疑是一位受歡迎的老師，學生也從 which they will understand and appreciate in 他那况獲益匪淺，但是他讓個人感情 later life. Hector has no interest in exams; his teaching is about the pursuit of knowledge for 干擾他的教學。他不願意成為制度的 its own sake. Whilst Hector is undoubtedly a 一部份，這意味着他可能使學生無法 popular teacher, and one from whom the boys 應付迫在眉睫的考試，減低他們考上 have clearly learnt a vast amount, he allows his 牛津和劍橋的機會。 personal feelings to interfere with his teaching. His reluctance to be part of the system means he is in danger of jeopardising the boys’ imminent exams, and their potential places at Oxford and Cambridge. 左起：李察．基菲夫斯與塞繆爾．巴內特 12 From Left: Richard Griffiths and Samuel Barnett 艾溫是一位年輕的歷史代課老師，與 Irwin, a young History supply teacher, is the 赫特背道而馳。對艾溫來說，「教育不 antithesis of Hector. To Irwin ‘education is not something for when they’re old and grey and 是為了讓他們垂暮之年坐在爐火旁回 sitting by the fire. It’s for now.’ He has been 憶的東西，而是為了當下。」校長請他 brought into the school by the Headmaster to 回來，就是要提高牛津劍橋考生的修 give the Oxbridge candidates polish and flair. 養和資質。他的教學方法是分析型 He teaches with an analytical approach, which 的，重視推翻論據，抓住一個論點， is concerned with subverting facts, of taking an 然後得出相反的結論。與赫特不同， argument and proving the opposite. Unlike 艾溫對表述形式最感興趣，對道德真 Hector, Irwin is most interested in presentation, 相則不感興趣，他認為歷史「不是鐵 he has no interest in moral truth, and instead sees history ‘not as a matter of conviction’ but 證」，而是「表演」和「娛樂」。 as ‘performance’ and ‘entertainment’. Mrs Lintott is a more traditional History teacher. She teaches ‘History, not histrionics’. She is interested in plainly- stated and properly-organised facts. Her dry style of teaching, whilst possibly not as inspiring as the other two teachers, produces excellent results we are told. As the only woman in the school (and in the play) she is often overlooked, and frequently patronised. Unlike Hector and Irwin, she does not allow personal 左起：瑪姬．斯蒂德與史提芬．坎貝爾．摩爾 thoughts to impinge on her teaching. This From left: Maggie Steed and Stephen Campbell Moore however leads to an outpouring of pent-up anger in the midst of the boys’ mock interviews. 林托太太是一位古板的歷史教師，她 教的是「歷史，不是演戲」。她認為簡 The Headmaster has 明扼要和有條不紊的陳述是最好的。 one concern, and one 她那枯燥乏味的教學風格儘管沒有另 concern only, and it is not 外兩位教師那麼富啟發性，據說卻能 the boys. He is interested in ‘league tables. Open 帶來卓越的成績。作為學校（及劇中） scholarships. Reports to 惟一的女性，她往往遭到忽略，又經 the governors’. As a 常被輕視。跟赫特與艾溫不同，她不 geographer, he has no 允許個人思想影響教學，正因為這 time for art and artists; 樣，她在男生們的模擬口試中，發泄 ‘they get away with 積壓已久的憤怒。 murder’. Characters © Thomas Hescott 校長只關心一件事，但與學生無關。 他只對「聯賽成績、公開獎學金、董事 會報告」感興趣。作為一位地理科老 師，他沒時間去關心藝術和藝術家 ─ 反正「他們為所欲為。」 本頁照片 photographs on this page © Manuel Harlan 馬爾科姆．辛克萊 角色介紹 湯瑪士．夏斯葛 Malcolm Sinclair 13 全體演員 The Company © Ivan Kyncl and Manuel Harlan 14 Feature 特稿 我在牛津出貓的日子 文：艾倫．貝內特 能夠入讀劍橋，我顯然很聰明，卻並非天 才橫溢，我也很清楚，我所寫的論文况， 校為《高校男生》的場景。我曾在 沒有足以使我高人一等、不愧於得到名校 列斯現代學校讀書，那是一所官 獎學金的真知灼見。我這泛泛之輩，無非 學 立文法中學。在四十年代和五十 得過且過。我是個不尋常的男生，這我知 年代初，該校的男生大多在列斯大學就 道，但我絕不是用功的學生。 讀，考進牛津和劍橋的可謂鳳毛麟角。在 我的記憶中，老師並不覺得那屆的中六學 這個想法在數個月後得到證實，那時我進 生特別聰明，但在1951年，劍橋出身的校 了軍隊服役，在聯合軍事學校學習俄語， 長卻首次作出努力，敦促畢業生去投考歷 自此開始與那些遠比我聰明、也比我更有 史更悠久的大學。 教養的同學混在一起。 我想，當中有勢利眼在作祟，一如校長把 聯合軍事學校設在劍橋，雖然我們這些軍
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    Simon Stephens Plays: 2 One Minute, Country Music Motortown, Pornography, Sea Wall One Minute: ‘Set in London in the aftermath of the disappearance of an eleven-year-old girl, One Minute brings together the girl’s mother, an unreliable witness, a student/barmaid and two investigating officers . the writing cleverly suggests how much the characters would like to connect but never really can.’ Guardian Country Music ‘spotlights four fateful moments in the life of Jamie Carris, an engaging but violent south Londoner. The play unfolds in a series of tightly focused two-handers, set before, during and after the prison sentences he has served for glassing one man and for killing another.’ Independent Motortown: ‘Danny – a squaddie who has served in Basra – is bringing the war back home [to] an England where the “war on terror” has become a war waged using the tactics of the terrorists. It is also a place of dubious moralities, small-time arms dealers and middle-class swingers and anti-war protesters. A searingly honest play written with a deadly coiled energy.’ Guardian Pornography: ‘Set in July 2005, between the announcement that London had been awarded the Olympics and the July 7 bombings, it tells seven entwining stories, including the imagined story of one of the bombers journeying towards London to commit an act of terrorism.’ Guardian Sea Wall: ‘A quietly gripping monologue about grief and belief . this play is like a deceptive calm blue sea beneath which lurks a ferocious riptide of sorrow.’ Guardian Simon Stephens is a British writer whose theatrical career began in the literary department of the Royal Court Theatre where he ran its Young Writers’ Programme.
  • Bbc Worldwide Australia and New Zealand Announces Banished, First Local Production for Bbc First

    Bbc Worldwide Australia and New Zealand Announces Banished, First Local Production for Bbc First

    12 March 2014 BBC WORLDWIDE AUSTRALIA AND NEW ZEALAND ANNOUNCES BANISHED, FIRST LOCAL PRODUCTION FOR BBC FIRST Following the award-winning and critically acclaimed Top of the Lake, BBC Worldwide Australia and New Zealand has announced its next local commission, which will screen on BBC First on Foxtel in 2015. Banished is an epic seven part series from award-winning writer/creator Jimmy McGovern (story producer Redfern Now) loosely inspired by events in the 18th century when Britain established a penal colony on the other side of the world. Starring David Wenham (Top Of The Lake), Russell Tovey (Being Human), Myanna Buring (Ripper Street), Julian Rhind-Tutt (The Hour) and Ryan Corr (Wolf Creek 2), the series starts filming in Sydney this April before moving to Manchester in the UK. The series has been co-commissioned by BBC Two in the UK and BBC Worldwide Australia and New Zealand. International award-winning independent production companies RSJ Films (Accused, The Street) and See-Saw Films (Top Of The Lake, The King’s Speech, Shame) have joined forces for the first time to co-produce Banished. The series will be the first locally produced show to screen on BBC Worldwide ANZ’s new premium drama and comedy channel BBC First, which will launch on Foxtel in August this year. Natalie Edgar, Director of Television BBC Worldwide ANZ, said: “This is a very exciting first commission for BBC First. It exemplifies all the things that BBC drama stands for with outstanding talent on both sides of the camera. Jimmy McGovern has been responsible for some of the most ground-breaking drama series created over the years and after the huge success of Top of the Lake I’m delighted to be working with See-Saw Films again as well as the talented team at RSJ.” This ambitious co-production charts the lives, loves, relationships and battle for survival of a group of convicts, the marines that guard them and men who govern them in the early days of this settlement.
  • Inform My Paintings, and Nalo Hopkinson

    Inform My Paintings, and Nalo Hopkinson

    C H A P T E R N Y F O R T H E CULTURE Friends Russell Tovey and Robert Diament’s love of art gave birth to the wildly popular podcast Talk Art. Now for GQS they pick some Black artists they love and unpack the diversity in minoritised art Text KAMIN MOHAMMADI hen friends – and self- Even over the stuttering video of Zoom – where visual artists, a potter… it’s trying to show a huge confessed art geeks – actor we are doing the interview – the two finish each diversity within minoritised art, within Black Russell Tovey and gallerist other’s sentences, expanding on each other’s artists. There are so many amazing voices.’ W Robert Diament decided to thoughts. ‘We were told to make the episodes 15 Rob interjects: ‘Also they are all artists who record their animated chats minutes or max 30, that no one would listen to have made the works that have touched me the about art and release them as a podcast, they had more, but quickly we realised we couldn’t do that, most in the past two or three years.’ no idea if anyone would listen, let alone that in and we did an hour or an hour and a half,’ says Rob and Russ’s recommendations of the artists the space of two years it would become one of the Rob. ‘We didn’t want to shut people’s stories down are distilled over the following pages, but chatting most popular art podcasts in the world. and people don’t often get access to those artists.
  • Doctor Who and the Politics of Casting Lorna Jowett, University

    Doctor Who and the Politics of Casting Lorna Jowett, University

    Doctor Who and the politics of casting Lorna Jowett, University of Northampton Abstract: This article argues that while long-running science fiction series Doctor Who (1963-89; 1996; 2005-) has started to address a lack of diversity in its casting, there are still significant imbalances. Characters appearing in single episodes are more likely to be colourblind cast than recurring and major characters, particularly the title character. This is problematic for the BBC as a public service broadcaster but is also indicative of larger inequalities in the television industry. Examining various examples of actors cast in Doctor Who, including Pearl Mackie who plays companion Bill Potts, the article argues that while steady progress is being made – in the series and in the industry – colourblind casting often comes into tension with commercial interests and more risk-averse decision-making. Keywords: colourblind casting, television industry, actors, inequality, diversity, race, LGBTQ+ 1 Doctor Who and the politics of casting Lorna Jowett The Britain I come from is the most successful, diverse, multicultural country on earth. But here’s my point: you wouldn’t know it if you turned on the TV. Too many of our creative decision-makers share the same background. They decide which stories get told, and those stories decide how Britain is viewed. (Idris Elba 2016) If anyone watches Bill and she makes them feel that there is more of a place for them then that’s fantastic. I remember not seeing people that looked like me on TV when I was little. My mum would shout: ‘Pearl! Come and see.
  • The History Boys Free

    The History Boys Free

    FREE THE HISTORY BOYS PDF Alan Bennett | 144 pages | 04 Apr 2006 | FABER & FABER | 9780571224647 | English | London, United Kingdom The History Boys by Alan Bennett | Waterstones Build up your Halloween Watchlist with our list of the most popular horror titles on Netflix in October. See the list. In s Britain, a group of young men at Cutlers' Grammar School all have the brains, and the will to earn the chance of getting accepted in the finest universities in the nation, Oxford and Cambridge. Despite the fine teaching by excellent professionals like Mrs. Dorothy Lintott Frances de la Tour in history and the intellectually enthusiastic Mr. He signs on the The History Boys Irwin Stephen Campbell Moore to polish the students' style to give them the best chance. In this mix of intellectualism and creative spirit that guides a rigorous preparation regime for that ultimate educational brass ring, the lives of the randy students and the ostensibly restrained faculty intertwine that would change their lives forever. Written by Kenneth Chisholm kchishol rogers. Gays and straights should see "The History Boys" to learn about love and tolerance. It is excellent. If you have a closed or narrow, rigid mind, don't go. In order not to be offended by the language, you need to be a Metro Man or a Metro Woman. It is downright blunt at times. The The History Boys language is not to be shocking or The History Boys, but to be brutally honest and upfront about important perceptions concerning love and tolerance. I had a little trouble getting into the movie in the very beginning scenes.
  • Topps DW Signature Series Checklist FINAL

    Topps DW Signature Series Checklist FINAL

    Topps Doctor Who Signature Series - Base Cards 1 The First Doctor 34 Androgar 67 Professor Alison Docherty 2 The Second Doctor 35 Davros 68 Danny Pink 3 The Third Doctor 36 Jenny, The Doctor's Daughter 69 Alonso Frame 4 The Fourth Doctor 37 Adric 70 Missy 5 The Fifth Doctor 38 Gwen Cooper 71 Ood Sigma 6 The Sixth Doctor 39 The Master 72 Psi 7 The Seventh Doctor 40 Rosita 73 Leela 8 The Eighth Doctor 41 General Sanchez 74 Roman Groom 9 The Ninth Doctor 42 Francine Jones 75 John Benton 10 The Tenth Doctor 43 Slitheen 76 Cathica Santini Khadeni 11 The Eleventh Doctor 44 The Teller 77 Winifred Bambera 12 The Twelfth Doctor 45 Diagoras 78 Cybermen 13 Bill 46 Oliver Morgenstern 79 Craig Owens 14 Clara Oswald 47 Nyssa 80 Kate Stewart 15 Amy Pond 48 The Silent 81 The Beast from The Pit 16 Rory Williams 49 Victoria Waterfield 82 The Valeyard 17 River Song 50 Vislor Turlough 83 Gantok 18 Rose Tyler 51 Toby Zed 84 Group Captain Ian Gilmore 19 Mickey Smith 52 Ianto Jones 85 Ashildr 20 Martha Jones 53 Ms. Delphox 86 Clive Jones 21 Donna Noble 54 Weeping Angel 87 Kirsty McLaren 22 Captain Jack Harkness 55 Strax 88 Von Weich 23 Osgood 56 Jenny Flint 89 Arnold Golightly 24 Sarah Jane Smith 57 Madame Vastra 90 Cline 25 Jo Grant 58 Zygon 91 Jamie McCrimmon 26 Susan Foreman 59 Mels 92 Ace 27 Malohkeh 60 Hila Tacorien 93 Colony Sarff 28 Captain Knight 61 Romana 94 The Controller 29 Jackie Tyler 62 Lilith 95 Mel 30 Mordred 63 Kahler-Tek 96 Pete Tyler 31 The Master 64 Kahler-Jex 97 Clifford Jones 32 Dalek 65 Steven Taylor 98 Richard Nixon 33 Blon Fel-Fotch
  • A Young-Old Face : out with the New and in with the Old Hewett, RJ

    A Young-Old Face : out with the New and in with the Old Hewett, RJ

    A young-old face : out with the new and in with the old Hewett, RJ Title A young-old face : out with the new and in with the old Authors Hewett, RJ Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/34862/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. PART ONE THE DOCTOR AND HIS COMPANIONS 1 1 A Young-Old Face Out with the New and in with the Old in Doctor Who Richard Hewett Introduction ‘I approve of your new face, Doctor - so much more like mine.’ This line, spoken by the now ancient, enervated and seemingly dying Davros in ‘The Magician’s Apprentice’, is just one of many age-related barbs directed at the Twelfth Doctor during Peter Capaldi’s reign, serving as a constant reminder that the Time Lord is no longer (if, indeed, his on-screen self ever was)1 a young man. Throughout his tenure, friends and foes alike highlighted the latest incarnation’s wrinkled, somewhat cadaverous visage, grey hair, and scrawny body, the Doctor being variously described as a ‘desiccated man crone’ (‘Robot of Sherwood’), a ‘grey-haired stick insect’ (‘Listen’), and a ‘skeleton man’ (‘Last Christmas’).