Production code 7J


First Transmitted:
1-14/12/1988 19:35
2-21/12/1988 19:35
3-28/12/1988 19:40
4-04/01/1989 19:35

Cast
Sophie Aldred : Ace
David Ashford : Dad
Christopher Guard : Bellboy
Janet Hargreaves : Mum
Dean Hollingsworth : Bus Conductor
Dean Hollingsworth as Bus Conductor is credited on Part Three but does not appear
Chris Jury : Deadbeat
Kathryn Ludlow : Little Girl
Deborah Manship : Morgana
Jessica Martin : Mags
Sylvester McCoy : The Doctor
T P McKenna : The Captain
Peggy Mount : Stallslady
Daniel Peacock : Nord
Ian Reddington : Chief Clown
Ricco Ross : Ringmaster
Dee Sadler : Flowerchild
Gian Sammarco : Whizzkid

Crew
Mark Ayres : Incidental Music
Don Babbage : Studio Lighting
Henry Barber : Studio Lighting
Denise Baron : Make-Up
Steve Bowman : Visual Effects
Andrew Cartmel : Script Editor
Barry Chaston : OB Cameraman
June Collins : Production Associate
Rosalind Ebbutt : Costumes
Ron Grainer : Title Music
and the BBC Radiophonic Workshop, arranged by Keff McCulloch
Alan Jessop : OB Cameraman
David Laskey : Designer
Duncan McAlpine : Assistant Floor Manager
Dick Mills : Special Sounds
John Nathan-Turner : Producer
Scott Talbott : Studio Sound
David Tilley : Assistant Floor Manager
Alexandra Todd : Production Assistant
Alan Wareing : Director
Stephen Wyatt : Writer


Plot Outline from Wikipedia

The Seventh Doctor and Ace respond to an invitation to visit the mysterious Psychic Circus on the planet Segonax, despite Ace’s fear of clowns and reluctance to go. Other travellers have arrived on the wasteland world too – the fannish Whizz Kid; the motorcycling maniac Nord; tiresome bore and intergalactic explorer Captain Cook and his companion Mags, whom the Captain curiously refers to as a "unique specimen".

But all is not pleasant outside the circus tent. The clowns are all mechanised apart from the human Chief Clown, who travels around in a hearse and recaptures an errant robot repairman Bellboy when he tries to escape. His companion in flight, Flower Child, is killed by something mysterious aboard a disused hippie bus. It turns out to be a robot conductor which also attacks the Doctor, Captain, Ace and Mags. The Doctor destroys the killer robot, while Ace finds one of Flower Child’s earrings and pins it to her jacket as a keepsake. They venture on to the circus tent itself, where the Doctor learns from Morgana the ticket seller that the Circus was founded by hippies as part of their artistic expression. They both join the audience, noticing the only other observers are a small family of three – father, mother, daughter – who observe the central stage with stoic disdain. The Ringmaster soon appears and invites the Doctor to join the entertainment. He agrees and is taken backstage where Nord, the Captain and Mags are also being kept. It appears that audience members are expected to become part of the show. Nord is duped into performing first and when his act fails to amuse he is obliterated.

The Chief Clown meanwhile interrogates Ace as to where she got the earring, suspicious of the girl. She flees deeper into the circus and finds Bellboy strapped to a desk. She hides as the Chief Clown frees him and then ventures back to the main entrance where she sees Morgana and the Ringmaster arguing about the Circus. He does not share her ethical qualms about the means used to fill the Circus. Their argument is interrupted by the arrival of Whizz Kid, who is ushered into the ring. He too is obliterated when he fails to please.

The Doctor and Mags venture deeper into the Circus and find a vast well shaft which illustrates a pulse of energy at its core. A curious eye symbol can be found there which is also depicted at the heart of a crystal ball owned by Morgana, inspiring her to pledge her loyalty to the forces that control the circus. Ace has meanwhile met with Bellboy, who tells her more about the origins of the circus. One of the workers, Dead Beat, was once called Kingpin and brought them to Segonax in search of a great power which has now gone horribly wrong. The death of Flower Child was at the hands of a robot he built himself and he feels wracked with guilt. When the Chief Clown arrives to recapture him, Bellboy sets a reprogrammed clown on himself and it kills him.

The Doctor has meanwhile encountered Dead Beat and realised he is key to the situation. They find Ace too and together they visit the well again. Dead Beat has a medallion embossed with the image of the eye which is missing a piece and Ace and Dead Beat head off to the bus to try and find it. The Doctor returns to the circus proper and finds himself in the ring with Mags, but Captain Cook is one step ahead. In an effort to ensure a good show and thus save his own skin a little longer, the Captain engineers simulated moonlight is beamed into the ring and Mags begins to transform into a werewolf. Unfortunately for the Captain her chosen victim is him – but the whole macabre spectacle has delighted the trio in the crowd. The Doctor and a shaken Mags slip away, with the Family demanding more entertainment. The Ringmaster and Morgana are now tested in the ring and killed when they fail to entertain.

Ace and Dead Beat destroy the Bus Conductor and retrieve the missing jewel for the medallion. With it back in place, Dead Beat’s mind is restored and he becomes Kingpin once more. They return to the circus – disposing of the Chief Clown and his minions en route – to find the Doctor has become the next person in the ring, having responded to a challenge from the Family. When he enters the ring this time he realises that is a dimensional portal and that the Family are in fact the Gods of Ragnarok, who feed on entertainment and kill those who do not satisfy them. After an array of tricks and japes he holds off the Gods long enough for Ace and Kingpin to throw the medallion into the well. It reaches the Doctor through the dimensional portal and he uses it to repulse the power of the Gods. Thus it is they themselves who are the next victims of their own power. The Doctor returns to the Psychic Circus as it disintegrates and explodes, and flees with his friends. He and Ace depart while Kingpin and Mags elect to set up a new circus on another planet.

Analysis by Cuisle


The usual BBC website plotline is entirely inadequate to explain the complicated story of The Greatest Show in the Galaxy. This from Wikipedia doesn’t quite do it either, but it is better.

It’s a strange story. The one abiding memory I have from seeing it the first time was agreeing with Ace that clowns are creepy. The writer of this story is not the first to see them that way. Stephen King in ‘It’ and Terry Pratchett in his Discworld novels also presented clowns as ‘creepy’. An underlying sinisterness to circuses generally though, is a newer idea. Most people would probably have a more positive image of them from the old blockbuster movies like Greatest Show on Earth – from which this episode obviously got it's title – or grew up on the Enid Blyton view of circus life.
Surreal is the word to describe this story from beginning to end. The landscape of the planet looked like something post-apocalyptic like Mad Max. And the landscape is peopled with what seem to be stock characters from various genres of film and TV. Nord the angry Biker definitely seemed to come from the Mad Max genre and looked most at home in the landscape. Peggy Mount playing to type as the cantankerous seller of strange and apparently unappetising food seemed like she was lifted from a comedy sketch show. Likewise fanboy with his tank top and bicycle. Captain Cook, the boring colonial was straight from theatrical farce, Mags from a hammer horror film. Likewise the circus people were a mixed back of one-dimensional caricatures. But that is not a criticism. Usually Doctor Who, despite being science fiction, and despite being set in some strange locations, is played as realism. This story was played in a rather Brechtian way, not attempting to reflect any form of realism. The planet and the circus were surreal and so was the plot. And having established that, and stopped expecting it to make sense in the usual way it was much easier to cope with the convolutions of it.

If there is one criticism it is the idea of the Gods of Ragnorok simply being indolents who force innocent Humans into performing for their entertainment – on pain of death when they no longer amuse – is nothing like the actual legend of Ragnorok, which is the Norse "Doom of the Gods" – end of the world scenario. Norse mythology is bloodthirsty stuff, but the gods at least have a purpose to their existence. Simply sitting there demanding to be entertained and punishing those who failed seems a pointless occupation for a god of any culture. It seems to be touching on the rich Norse culture without ever properly understanding and exploring it.


In so far, however, as it provided an example of The Doctor defending the innocent – in this case Mags and kingpin, and defeating evil, the final scenes are typical 7th doctor style, turning the tables on the gods by out-talking and out-thinking them. And his nonchalance as he walks away from the tent moments before it explodes is breathtaking, especially for those who have heard McCoy talk about making this episode and describing how the explosion was louder and hotter than he expected and how scared he was as he kept walking until the director called ‘cut’ not knowing if he still had skin on his back.

As a series finale, it did what it should, went out with a bang. As a storyline, I’m not sure the surreal REALLY works for Doctor Who. I think the realism we are used to, where we can actually believe that the strangest things ARE real, works better.

Incidentally, watching it again latterly I couldn’t help thinking of comparisons with the Episode of the offbeat comedy series League of Gentleman “How the Elephant Got it's Trunk” which featured a surreal circus and people disappearing. That episode in particular might be known to fans, since Doctor Who writer Mark Gattis wrote that series and that particular episode saw Chris Eccleston as a guest star.