REVIEW: ‘Doctor Who’ — “The Church On Ruby Road”

“The Church on Ruby Road” is the 2023 Doctor Who Christmas special. Written by Russell T. Davies and directed by Mark Tonderai. This is the first true special of the new era of the BBC sci-fi show, starring Ncuti Gatwa as the Doctor and Millie Gibson as his companion, Ruby Sunday. After three specials that saw David Tennant return as the iconic character, this special is the real beginning of the new era. Ruby has been having a run of really bad luck and something may be behind it. And a new baby in the family could lead to a feast.

One of the most important episodes for any new Doctor, their first foray has a huge amount of pressure to it. And the plot of this special takes its time to work up and carry that pressure. The plot is energetic, fresh, and a great example of what to expect. But that is only after a rather slow build-up. There’s a lot of exposition to get through, with everything in “The Church on Ruby Road” being brand new, but it needs to get through it quicker.

The structure is actually a benefit though, as the next two-thirds of the episode is brilliantly fun. Absolutely chaotic, Davies fills the show with adrenaline when it is needed. Strangely, this is the second special in a row to feature a musical number in the middle, with this one making a bold push for a Christmas Number One. A grizzly, yet glorious song, sung by Christina Rotondo, serves as the action sequence whilst also making this the first musical episode of Doctor Who. The subject matter is horrifying and yet, that is where the scene finds its humor.

The song is very much the turning point of the episode, as it kicks everything into gear. It’s brimming with chaos and charismas, drama and devotion. It shows how this era will deal with the solemn and emotional moments, and it is beautifully done. The episode is fuelled with love and positivity, demonstrating the freedom this Doctor operates in. Some periods are tremendously sad and serious, but that gives Davies the drive to search for happiness again. The shaky start is completely forgotten when you reach the exhilarating end. It ends just before most Who episodes that came before might have. There are mysteries added that could either be a statement without consequence or a sign of the future of the whole show.

What is clear about this display is that the cast will be absolutely delightful. Gatwa is remarkable. He instantly embraces the boisterousness of his other counterparts with more intensity and so much of his own spin. There’s a swagger to his step, a flirtatious confidence, and the ability to light up any room he’s in. He possesses an incredible acting range too, which was demonstrated in Sex Education, but now he is on the centre stage. That is where he was born to be: with the spotlight on him.

He also has a subtle sadness when necessary. Initially, when discussing his newly learned upbringing, there is a smile even as he talks about his loneliness. But then, when things in the story take a sudden and surprising turn for the worst, his panic and realisation draw attention like a siren. The tonal extremes are vital to explore early, as they are both part of the lifeblood of Doctor Who. Gatwa is tremendous at delivering the expositional technobabble crucial to being a Time Lord, with shades of an ego laced within that as well. The smooth, Scottish voice makes the delivery warmer.

Joining The Doctor on this brand new adventure is Manchester-born Ruby, superbly played by Gibson. The Northern charm radiates from her. She is sweet, vibrant, and complicated. Her backstory is among the most interesting of any companion in the 60 years of Doctor Who history. Abandoned on Christmas Eve, Ruby lives in a foster family, with no clue who any of her real family are. Through this, Davies creates a theme between the Doctor and his companion, making them both lonely and abandoned souls. It also creates a direct link to Christmas, making the special even more pertinent. The chemistry between the duo is instantly infectious. They bounce off each other so well and their collective joy is adorable. Ruby hits many of those beats that every new companion must hit, bewildered by all of the gadgets, language, and aliens. But what is noticeable with Ruby is how much she takes it all in with stride. She can improvise and think on her feet, which magnifies her energy.

There’s a rather small supporting cast, but the humans are funny and friendly. Joining Ruby in her home are her adopted mother (Michelle Greenidge) and grandmother (Angela Wynter). They are superbly written, demonstrating Davies’ spectacular ability to script humans, but the performances are even better. The warmth and pure love that Ruby’s mother, Carla exudes is extremely comforting. She appears to adore children and dote on Ruby, with a relationship that is simple yet effective. Her positivity and care have influenced her adoptive daughter immensely. And it is the strength in that goodness that makes the instant change later in the episode so powerful and jaw-dropping. The complete alteration of her entire demeanor is a demonstration of outstanding acting.

Also included in the cast is a guest cameo by British presenter and national treasure, Davina McCall. The concept is amazing and really funny for those who are aware of McCall. She plays herself, mirroring a show she actually presents. But then the surprising part is when she is drawn into the alien nature of the plot. It’s something that Davies has tried before through TV screens and news reports, but this is the first example of a figure portraying herself, and McCall leans into her role within the shown terrifically.

The production design of the show is something of a mixed bag. The enemies are plentiful and brilliantly designed, but you don’t actually see enough of them. The ship itself is a fantastic set and the little creatures within it are expressive and hilarious, as showcased in the musical part of the programme. They are comical for much of the episode, only developing a menace in their final gambit. As a similar problem to the enemy, the show spends a little too much time in Ruby’s flat. It’s nice to focus on the family, but it’s a very cramped space that can feel restrictive. But as a counter-argument, it does add a sense of intimacy and community to that London street before it is turned upside down by the introduction of the Doctor.

“The Church on Ruby Road” is brilliantly bonkers. The plot takes its time, but when it finds its stride it is an absolute blast that simply exists to have fun and be merry. Having Doctor Who specials return to Christmas Day just feels right. The New Year’s Day idea was interesting, but Christmas is so natural and reminiscent of times of old. Both of the new young cast members look like instant successes, ready to carry the torch into a new generation. The musical element of the episode is unexpected, but it demonstrates the lightness that this new Doctor possesses. Much of the tragedy and heartbreak was left behind after the bi-generation. It’s a unique start that is refreshing and willing to lead with smiles. But tears are also embraced and accepted. What is a slight concern is the fact that two specials in a row have now faced similar problems with both pacing and the usage of villains. Davies needs to be careful not to make this a trend.

“The Church on Ruby Road” is available on BBCiPlayer and Disney+ outside of the UK