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A double act, also known as a comedy duo, is a comic pairing in which humor is derived from the uneven relationship between two partners, usually of the same gender, age, ethnic origin and profession, but drastically different personalities or behavior. Often one of the duo members, the straight man, feed, dead wood, or stooge is portrayed as reasonable and serious, and the other one, the funny man, banana man or comic is portrayed as funny, less educated or less intelligent, silly, or unorthodox. If the audience identifies primarily with one character, the other is often referred to as a comic foil. The term feed comes from the way a straight man will set up jokes for—or "feed" them to—their partner.

Despite the names given to the roles, the "straight man" need not necessarily be humorless, and it is not always the comic who provides the act's humor. Sometimes, it is the straight man who gets the laughs through his or her sarcastic reactions to the comic's antics, as was often the case with Stewart Lee's deadpan, reasoned reactions to Richard Herring's more ridiculous antics in their pairing. Where the "straight man" serves no personal comic purpose but acts as a device to make the "comic" look good, they are known as a "Stooge". This is sometimes considered a derogatory term. Most often, however, the humor in a double act comes from the way the two personalities play off each other rather than the individuals themselves; in many successful acts the roles are interchangeable.

History[link]

Early development[link]

The template for the modern double act began in the British music halls and the American vaudeville scene of the late nineteenth century. Here, the "straight man" was a necessity as he would repeat the lines of the "comic". This was done simply because the audience would be noisy, and repeating the joke gave the audience a fighting chance of hearing the joke and the comedians a fighting chance of getting a good reaction. Soon the dynamic developed so that the "straight man" became a more integral part of the act, setting up jokes that the comic could then deliver the "punchline" to. At various stages, acts such as George Burns and Gracie Allen (who, unlike their more recognizable incarnation on television and in films, operated with Burns as the comic), Abbott and Costello, Flanagan and Allen, Gallagher and Shean and Smith and Dale were all popular draws. The dynamic continued to develop, with Abbott and Costello using a modern and recognizable formula in routines such as Who's On First? in the 1930s and Flanagan and Allen using "cross talking".

Though Vaudeville would last well into the 1930s, its popularity began to wane due to the gradual rise of motion pictures and some acts disappeared, having failed to survive the transition to movies. By the 1920s, double acts were beginning to attract worldwide fame more readily through the silent era. However, due to the obvious restrictions, the comedy was not derived from "cross talk" or clever verbal exchanges, but through slapstick routines and the actions of the characters. The first double act to gain worldwide fame through film was Laurel and Hardy. Before meeting the pair had never worked together on stage (they did as of 1940), though both had worked in vaudeville—Stan Laurel with Charlie Chaplin as part of Fred Karno's Army and Oliver Hardy as a singer. Laurel could loosely be described as the comic, though the pair were one of the first not to fit the mold in the way that many double acts do, with both taking a fairly equal share of the laughs. The pair first worked together as a double act in the 1927 film Duck Soup. Laurel and Hardy adapted well to silent films, both being skilled at slapstick, and their non-verbal interplay with each other and the audience became famous—Laurel's cry and Hardy's downtrodden glances to the camera whenever something went wrong—and were carried over to their later talkies. Indeed, they were one of the few silent acts who made a very successful transition to spoken word pictures in the 1930s, showing themselves to be equally adept at verbal wordplay.

1940s-1960s[link]

1940 saw Laurel and Hardy released Saps at Sea, their final film for long term producer and collaborator Hal Roach. From here, their popularity began to decline. However, in 1940s America the double act remained a cinema draw, developing into the "buddy movie" genre with 1940 seeing Abbott and Costello making the transition from stage to screen and the first of Bob Hope and Bing Crosby's Road to... series. Further acts would soon follow; for example, the first pairing of Dean Martin and Jerry Lewis occurred in 1946. The genre has continued to exist in cinema, while also making a successful transition to radio and later television via The Smothers Brothers and Rowan and Martin's Laugh In.

In Britain, double acts would remain confined to theatres and radio until the late 1950s when double acts such as Morecambe and Wise and Mike and Bernie Winters slowly began the transition to television on variety programmes such as Sunday Night at the London Palladium. It was not until the mid-to-late 60s that these acts truly came into their own. When Morecambe and Wise teamed up with writer Eddie Braben they began to re-define what was meant by a double act, with Wise, the straight man, being developed into a comic character in his own right. They provided the link between music hall and modern comedy for double acts.^[1] As the two leading double acts of the day, Morecambe and Wise and the Winters brothers enjoyed a playful rivalry – the Winters themselves mocked the slight edge Morecambe and Wise had over them in popularity, while Morecambe, when asked what he and Wise would have been if not comedians, replied "Mike and Bernie Winters".

Throughout the 1960s and 1970s, the traditional formula was shunned by The Two Ronnies, who completely dispensed with the need for a "straight man", and Peter Cook and Dudley Moore, two Oxbridge-educated comedians who used the double act to deliver satire and edgy comedy.

1970s[link]

Light entertainment in Britain in the 1970s was dominated by Morecambe and Wise, who enjoyed very impressive ratings, especially on their Christmas Specials. Although Mike and Bernie Winters' popularity declined, The Two Ronnies' success grew greatly, while Peter Cook and Dudley Moore sporadically produced acclaimed work, in particular their controversial recordings as Derek and Clive from 1976-1978.

The mid to late 1970s saw a resurgence in American double acts. Blazing Saddles (1974) featured a memorable performance between Mel Brooks and Harvey Korman (who would team up again in Brooks' 1981 follow-up History of the World, Part I). Saturday Night Live, first broadcast in 1975, provided a group of comedians who were prepared to appear with each other in sketches as double acts, and has continued to do so. In particular, it was here that Dan Aykroyd and John Belushi honed their characters The Blues Brothers, who would soon be propelled to fame in the 1980 buddy movie of the same name. Gene Wilder and Richard Pryor also embarked on a string of successful buddy films in the 1970s. Cheech & Chong also gained massive popularity during this time.

Occasionally the straight-man/funny-man dynamic would appear in contexts unexpected and between characters not normally thought of as comics. This often appeared in the James T. Kirk (William Shatner) / Mr. Spock (Leonard Nimoy) relationship in several episodes of the original Star Trek series.

1980s[link]

Morecambe and Wise had dominated British light entertainment throughout the 1970s, but their presence had begun to wane in the early '80s. When Morecambe died moments after finishing a solo show in 1984 (his last words were 'I'm glad that's over'), the best-loved double act in British comedy came to an end, and several new acts emerged. However, the two distinct groups could not have been more different.

In the wake of Not the Nine O'Clock News, The Young Ones and the breakthrough onto television of 'alternative comedy' came French and Saunders; Fry and Laurie; Rik Mayall and Ade Edmondson; Hale and Pace; and Smith and Jones. These edgier comics were more brash and crude—comedy's answer to punk rock.^[1] They developed the satire and vulgarity of Peter Cook and Dudley Moore rather than the more gentle humour of Morecambe and Wise and The Two Ronnies. In fact, Smith and Jones showed blatant disregard for their predecessors, openly mocking the Two Ronnies (this may have been a factor in Ronnie Barker's decision to retire from comedy in the late 1980s.^[1])

At the same time, however, Little and Large and Cannon and Ball also became enormously successful. Their acts relied heavily on the "straight man/comic" dynamic and used less controversial comedy born out of Northern workingmen's clubs. While the spirit of alternative comedy carried on into the 1990s, Cannon and Ball and Little and Large eventually disappeared from television screens.

1990s–present day[link]

The early 1990s saw comedy become "the new rock and roll"^[1] in Britain and this was inherent in the work of Newman and Baddiel and Punt and Dennis on The Mary Whitehouse Experience. Newman and Baddiel in particular symbolised this rock and roll attitude by playing the biggest ever British comedy gig at Wembley Arena. However, with this came tension. Newman and Baddiel fell out with Punt and Dennis not wishing to share screen time with them, and then with each other. David Baddiel went on to form another successful double act with Frank Skinner.

The 1990s also saw the introduction of one of comedy's strangest yet most successful double acts in Reeves and Mortimer. They at the same time deconstructed light entertainment^[1] and paid homage to many of the classic double acts (Vic Reeves would even do an Eric Morecambe impression on Vic Reeves Big Night Out). They simultaneously used very bizarre, idiosyncratic humour and traditional double act staples (in later years they became increasingly reliant on violent slapstick).

Another double act who emerged in the mid to late '90s were Lee & Herring, who combined a classic clash of personalities (downbeat and rational Lee contrasting with energetic, childish Herring) with very ironic, often satirical humour.

Also appearing in the latter half of the decade were Adam and Joe, whose low budget, self-produced Channel 4 series The Adam and Joe Show was a very sharp combination of TV and movie parodies and satirical looks at various elements of youth culture.

Indian cinema, also had its share of the double act, with Tamil cinema comedians Goundamani and Senthil, teaming up for several films throughout the decade.

However, most of the 2000s' most successful double acts take their inspiration from the odder strain of double-act comedy spearheaded by Reeves and Mortimer. Matt Lucas and David Walliams, who had previously worked with Reeves and Mortimer, also took inspiration from the Two Ronnies. The Mighty Boosh also played with the formula but essentially remained traditional at their roots. Another popular current light entertainment/presenting act is Ant and Dec, who are a very basic yet effective example of a double act.

In Wrestling[link]

The stable DX or Degeneration X would be considered a "comedy duo" in the wrestling world. In this case Triple H would be the straight man and Shawn Michaels would be the funny man. Wrestling commentary teams have often served as comedy duos, perhaps the most famous being the comedically villainous Bobby "The Brain" Heenan and his straight-laced, down-the-middle partner Gorilla Monsoon.

United Kingdom[link]

In its British form, the two actors would usually be composed of a "straight man" or "feed" and a "comic", the purpose of the feed being to set up jokes for the comic. This would rely heavily on comic timing.

Morecambe and Wise are arguably the quintessential British double act. They followed the traditional formula with Eric Morecambe as the comic and Ernie Wise as the feed. However, other British acts such as The Two Ronnies, Hale and Pace, Rik Mayall and Adrian Edmondson, Reeves and Mortimer, French and Saunders, Mitchell and Webb, Mel Smith and Griff Rhys Jones, Fry and Laurie, Lee and Herring, Armstrong and Miller, Peacock and Gamble, the role of "comic" and "straight man" are less obvious, largely interchangeable or dispensed with altogether. More obvious British examples of the comic-feed dynamic are Cannon and Ball, Little and Large or the children's entertainers The Chuckle Brothers, where the straight man acted largely as a humourless set up for the comic.

Peter Cook and Dudley Moore perhaps also deserve a mention as being the first double act to go against the grain, and turn their double act into a complex analysis of the two's relationship. In many of the sketches (especially the Pete and Dud exchanges) Cook played the domineering know-it-all (who knows nothing) and Moore the put-upon dimwit (who also knows nothing).

This dominance was accentuated by the difference in height between the two, and the speed of Cook's mind, which meant that he could ad-lib, and force Moore to corpse in a Pete and Dud dialogue, leaving him helpless to respond. As the partnership progressed into the often improvised Derek and Clive dialogues, these light-hearted attempts to make Moore laugh became, as a result of Cook's growing insecurity and alcoholism, aggressive attacks on the defenceless Moore. However, carrying on the tradition of going against the grain of traditional double acts, when the partnership dissolved in the late 1970s, it was Cook whose career stalled due to boredom, alcoholism and lack of ambition, while Moore went on to become one of Hollywood's most unlikely leading men.

Sitcoms[link]

The double act has also become a popular theme in British sitcoms. One of the earliest examples of this was the relationship between Tony Hancock and Sid James in the Galton and Simpson series Hancock's Half Hour. James played a down-to-earth character while Hancock was pompous and had delusions of grandeur, and the comedy was derived from the two playing off of each other's characteristics.

A common trend in sitcoms is to place the double act in a situation where they are forced together through uncontrollable circumstance. In another Galton and Simpson production, Steptoe and Son, a son, with great ambition, was forced to live with his elderly, manipulative father as a rag and bone man. The comedy derives from the way the characters interact in their tempestuous relationship. The series also has more heart-rending moments as the son despairs at his inability to escape his needy, selfish, grasping father.

Porridge, saw "an habitual criminal", Fletcher (played by Ronnie Barker, already famous for his comedy partnership with Ronnie Corbett) and a young, naive first-time prisoner, Lennie Godber. The two would bicker but endured a relationship of mutual respect. Also, he formed a partnership with David Jason in Open All Hours (who was the straight man of the pair) who played Granville, while Barker played Arthur Arkwright. Many don't see this as a comedy duo but the straight man element coupled with Barker funny man antics on the show are still compressed into the script.

Rik Mayall and Ade Edmondson combined their success in sitcoms (The Young Ones) and as a double act (The Dangerous Brothers) in 1991 when they created Bottom. Their characters are a pair of sad, pathetic losers forced together by their mutual hopelessness. However, unlike earlier examples of such, the characters in Bottom absolutely hate each other, exacerbating their despair. This often leads to slapstick violence, such as hitting each other with frying pans. Mayall and Edmonson have said Bottom aimed to be more than just a series of toilet gags – it was meant to be a cruder cousin to plays like Waiting for Godot about the pointlessness of life.

Other popular double acts in British sitcoms include complex relationships involving status and superiority themes: in Dad's Army, the social climbing envy of Captain George Mainwaring, to his right hand man (Sergeant Arthur Wilson) who is of higher status than him; and in Red Dwarf, the working class everyman Dave Lister to the middle class but socially-awkward Arnold Rimmer. However, the most prominent double act is that of an intelligent person and his inferior sidekick, such as Basil and Manuel of Fawlty Towers, Blackadder and Baldrick of Blackadder, or Ted and Father Dougal of the Irish-British sitcom Father Ted.

In recent years, double acts as sitcoms appear to have gone full circle, as illustrated by the cult success of The Mighty Boosh. For the relationship between the two main characters this series uses a formula very similar to that between Sid and Tony in Hancock's Half Hour – that of a pompous character whose best friend can see right through him and brings him back down to earth. A similar dynamic is used in Peep Show in which the characters of Mitchell and Webb were adapted for the sitcom formula. However, in this case both characters suffer from pomposity; the difference between the pair is the laidback, cool arrogance (yet stupidity) of Jeremy and the intellectual arrogance (yet social-awkwardness) of Mark.

U.S. and Canada[link]

In the United States and Canada, the tradition was more popular in the earlier part of the 20th century with vaudeville-derived acts such as Abbott and Costello, Burns and Allen, and Wheeler & Woolsey, and continuing into the television age with Martin and Lewis, Bob and Ray, the Smothers Brothers, Wayne and Shuster, Allen and Rossi, Jack Burns and Avery Schreiber, Rowan and Martin, Mike Nichols and Elaine May, the Wayans Brothers,Troy and Abed from Community, and Shawn and Gus in Psych.

More recently, the idea has been largely supplanted by that of the "buddy movie" genre, which has introduced several notable comedy partnerships not formally billed as a single "act" in the traditional manner. The earliest example of such a team may have been Bob Hope and Bing Crosby; later examples include Gene Wilder and Richard Pryor, Dan Aykroyd and John Belushi, Mike Myers and Dana Carvey, David Spade and Chris Farley and child stars Kenan Thompson and Kel Mitchell. Based on the gag-man/straight-man concept, "Stoner" duos like Cheech and Chong, Jay & Silent Bob, and Harold and Kumar have also proven quite popular with audiences.

The double act format can also be used in presenting non-comedic information in an entertaining manner, such as the Savage/Hyneman pair of the Discovery Channel's MythBusters. From 2006-2010, Apple used the double act formula successfully in their popular series of I'm a Mac / And I'm a PC ads with John Hodgman and Justin Long.

China[link]

In China, xiangsheng (also known as crosstalk) is a traditional comedic performance usually in the form of a dialogue between two performers.

Japan[link]

In Japan the manzai tradition parallels that of the double although it is more formulaic. Here there is a distinguished straight man (tsukkomi) and funny man (boke) and the humor consists of quick jokes full of slapstick humor and social misunderstandings.

Germany[link]

In Germany Tünnes and Schäl (since 1803/1850s), two Cologne puppet theater characters, fit to the concept of fool and straight man.

During the Second World War Tran and Helle appeared in a number of short films to deter Germans from actions detrimental to Germany's war effort or security.

Between 1950 and 1980, the most popular comedy duo of East Germany, Herricht & Preil, ran a very successful double act, with Hans-Joachim Preil as the straight man and Rolf Herricht as the comic.

Comic pairs compared[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (January 2009)

Interchangeable roles[link]

Double acts who do not use the "Straight Man/Funny Man" dynamic or whose roles are interchangeable:

• A Pair of Nuts: The Comedy Duo
• Adrian Edmondson & Rik Mayall
• Alexander Armstrong and Ben Miller
• Ant McPartlin & Declan Donnelly
• Atlas & P-Body (Portal 2)
• Beavis and Butt-head
• Cheech and Chong
• Colin Mochrie & Ryan Stiles
• Dan Aykroyd & John Belushi
• Baddiel and Skinner
• Flight of the Conchords
• Fred Armisen & Carrie Brownstein in Portlandia (TV series)
• French and Saunders
• Fry and Laurie
• Gallagher and Shean
• Hale and Pace
• James Franco and Seth Rogen in Pineapple Express (film)
• Joey Tribbiani and Chandler Bing
• CJ & Mahalik (in Scary Movie 3 & 4)
• Lloyd Christmas & Harry Dunne
• Tim Heidecker & Eric Wareheim
• Mel Smith & Griff Rhys Jones
• Mitchell and Webb
• Newman and Baddiel
• The Pathological Upstagers
• Pinky and the Brain
• Raymond Barone and Debra Barone
• Ray Peacock and Ed Gamble
• Randy and Jason Sklar
• Rod Brasfield & Minnie Pearl
• Roy and HG
• Simon Pegg & Nick Frost
• Smith and Dale
• Spongebob Squarepants (character) & Patrick Star
• Stan Laurel and Oliver Hardy
• Willy Clark and Al Lewis
• Terrance and Phillip
• Vic and Bob
• Zachary Levi and Joshua Gomez

Notes[link]

Mitchell and Webb
Robert Webb and David Mitchell in 2007
Medium	Television, radio, film
Nationality	British
Years active	1995–present
Genres	Sketch comedy Character comedy
Influences	Morecambe and Wise, Monty Python, The Two Ronnies, Fry and Laurie[1]
Notable works and roles	That Mitchell and Webb Look Peep Show
Members	David Mitchell Robert Webb

Mitchell and Webb are a British comedy double act, composed of David Mitchell (born 14 July 1974) and Robert Webb (born 29 September 1972). They are best known for starring in the Channel 4 sitcom Peep Show and their award-winning sketch show That Mitchell and Webb Look. The duo first met at the Footlights in 1993 and collaborated for the 1995 Revue whilst studying at Cambridge University.

Works[link]

Television and radio[link]

After graduating from university, the duo did two-man shows at the Edinburgh Fringe Festival and some sketch writing, including a series of Big Train and also for Armstrong and Miller's eponymous show.^[2] Their big break came in 2000 when they joined the writing team for the BBC Two sketch show Bruiser. The following year, the short-lived Play UK channel invited them to write their own sketch show, The Mitchell and Webb Situation. Despite the low ratings of the channel, the show was reasonably well-received by viewers. After the success, they wrote and starred in the Radio 4 sketch show, That Mitchell and Webb Sound – which was later adapted for television on BBC Two as That Mitchell and Webb Look. The first series of That Mitchell and Webb Look won the BAFTA for "Best Comedy Programme" in 2007.

They often appear with Olivia Colman, James Bachman, Mark Evans and Paterson Joseph.

In 2008, the duo wrote a pilot script for their first original sitcom; in Playing Shop, the two star as Eric and Jamie, friends who set up a business together after they are made redundant from their old jobs. Hartswood Films recorded the pilot episode on 20 December, with a view to producing a full series for BBC Two.^[3] Although approved by BBC, plans for future episodes fell through as Mitchell and Webb decided not to proceed with it.

Mitchell and Webb collaborated with Armstrong and Miller again for the 2009 Red Nose Day fundraising event. They co-wrote and starred in two short sketches incorporating Armstrong and Miller's iconic World War II airmen characters from The Armstrong and Miller Show and their characters Sir Digby and Ginger from their radio show That Mitchell and Webb Sound.

Other[link]

Mitchell and Webb have also appeared in the short-lived U.K. regional versions of the 'Get a Mac' advertisements for Apple.

They also voiced a pair of peas on the Ant and Dec's Saturday Night Takeaway sponsorship adverts for Birds Eye.

Magicians, a film starring the pair was released on 18 May 2007.^[4]

They have also released the book This Mitchell and Webb Book.

References[link]

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David Tennant
David Tennant at Comic-Con 2009
Born	David John McDonald (1971-04-18) 18 April 1971 (age 41) Bathgate, West Lothian, Scotland
Occupation	Actor
Years active	1987–present
Spouse	Georgia Moffett (2011–present)
Children	1 daughter, 1 son (adopted)
Parents	Alexander McDonald Helen McDonald (deceased)[1]

David Tennant (born David John McDonald; 18 April 1971) is a Scottish actor. In addition to his work in theatre, including a widely praised Hamlet,^[2][3] Tennant is best known for his role as the tenth incarnation of the Doctor in Doctor Who, along with the title role in the TV serial Casanova (2005) and as Barty Crouch, Jr., in the film Harry Potter and the Goblet of Fire (2005).

Early life[link]

Tennant was born in Bathgate, West Lothian, Scotland, the son of Essdale Helen (née McLeod) and The Rev. Alexander McDonald (known to family and friends as Sandy McDonald).^[4] He grew up with his brother Blair and sister Karen^[5] in Ralston, Renfrewshire, where his father was the local Church of Scotland minister.^[6][7][8] Tennant's maternal great-grandparents, William and Agnes Blair, were staunch Protestants from Derry in Ulster, the northern province of Ireland, and were among the signatories of the Ulster Covenant in 1912; William was a member of the Grand Orange Lodge of Ireland. Tennant's maternal grandfather, footballer Archie McLeod, met William and Agnes's daughter Nellie while playing for Derry City.^[9]

At the age of three, Tennant told his parents that he wanted to become an actor because he was a fan of Doctor Who,^[10] but they tried to encourage him to aim for more conventional work.^[5] He watched almost every Doctor Who episode for years, and he spoke to Tom Baker at a book-signing event in Glasgow.^[5] Tennant says he was "absurdly single-minded" in pursuing an acting career. Tennant was educated at Ralston Primary and Paisley Grammar School, where he enjoyed a fruitful relationship with English language teacher Moira Robertson, who was among the first to recognise his potential.^[11] He acted in school productions throughout primary and secondary school.

Tennant's talent at this young age was spotted by actress Edith MacArthur; after seeing his first role at age 11, she told his parents he would become a successful stage actor.^[12] Tennant also attended Saturday classes at the Royal Scottish Academy of Music and Drama; at 16, he passed an audition for the Academy, one of their youngest students, and studied there between the ages of 17–20, taking his stage name from the Pet Shop Boys frontman Neil Tennant^[13] after reading a copy of Smash Hits magazine^[14] because there was another David McDonald already on the books of the Equity union. Tennant was flatmates with friend Louise Delamere while at the Academy and gained a bachelor's degree.

Career[link]

Early work[link]

Tennant made his professional acting debut while still in secondary school. When he was 16 he acted in an anti-smoking film made by the Glasgow Health Board which aired on television and was also screened in schools.^[12] The following year, he played a role in an episode of Dramarama. Tennant's first professional role upon graduating from drama school was in a staging of The Resistible Rise of Arturo Ui costarring Ashley Jensen, one of a few plays in which he performed as part of the agitprop 7:84 Theatre Company. Tennant also made an early television appearance in the Scottish TV sitcom Rab C Nesbitt as a transsexual barmaid called Davina. In the 1990s, Tennant appeared in several plays at the Dundee Repertory Theatre.^[15]

Tennant's first major TV role was as the manic depressive Campbell in the Scottish drama series Takin' Over the Asylum (1994). During filming, Tennant met comic actress and writer Arabella Weir. When he moved to London shortly afterwards he lodged with Weir for five years and became godfather to her youngest child. He has subsequently appeared alongside Weir in many productions; as a guest in her spoof television series, Posh Nosh; in the Doctor Who audio drama Exile—during which Weir played an alternate version of the Doctor—and as panellists on the West Wing Ultimate Quiz on More4 (Weir later guest-starred on Doctor Who itself after Tennant left the series). One of his earliest big screen roles was in Jude (1996), in which he shared a scene with Christopher Eccleston, playing a drunken undergraduate who challenges Eccleston's Jude to prove his intellect. Coincidentally, Eccleston later portrayed the incarnation of The Doctor immediately preceding Tennant's.

Tennant developed his career in the British theatre, frequently performing with the Royal Shakespeare Company. His first Shakespearean role for the RSC was in As You Like It (1996); having auditioned for the role of Orlando, the romantic lead, he was instead cast as the jester Touchstone, which he played in his natural Scottish accent.^[16] He subsequently specialised in comic roles, playing Antipholus of Syracuse in The Comedy of Errors and Captain Jack Absolute in The Rivals, although he also played the tragic role of Romeo in Romeo and Juliet.

Tennant also contributed to several audio dramatisations of Shakespeare for the Arkangel Shakespeare series (1998). His roles include a reprisal of his Antipholus of Syracuse in The Comedy of Errors, as well as Launcelot Gobbo in The Merchant of Venice, Edgar/Poor Tom in King Lear, and Mercutio in Romeo and Juliet, all of which he performs in his natural accent. In 1995, Tennant appeared at the Royal National Theatre, London, playing the role of Nicholas Beckett in Joe Orton's What the Butler Saw. The plot required Tennant to appear naked on stage. In television, Tennant appeared in the first episode of Reeves and Mortimer's revamped Randall & Hopkirk (Deceased) in 2000, playing an eccentric artist. This is one of his few TV roles in his native Scottish accent.

During the Christmas season of 2002, he starred in a series of television advertisements for Boots the Chemists.^[17] Tennant began to appear on television more prominently in 2004 and 2005, when he appeared in a dramatisation of He Knew He Was Right (2004), Blackpool (2004), Casanova (2005) and The Quatermass Experiment (2005). In film, he appeared in Stephen Fry's Bright Young Things (2003) and played Barty Crouch Jr. in Harry Potter and the Goblet of Fire (2005).

[edit] Doctor Who (2005–2010)

Tennant with Doctor Who showrunner Russell T Davies (left), regular director Euros Lyn (centre right), and executive producer Julie Gardner (right) at Comic-Con in July 2009

Doctor Who returned to British screens in 2005, with Christopher Eccleston playing the role of the Ninth Doctor. After Eccleston's announcement on 31 March 2005 that he would not be returning for a second series, the BBC confirmed Tennant as his replacement in a press release on 16 April 2005. He made his first, brief appearance as the Tenth Doctor in the episode "The Parting of the Ways" (2005) at the end of the regeneration scene, and also appeared in a special 7-minute mini-episode shown as part of the 2005 Children in Need appeal, broadcast on 18 November 2005. He began filming the new series of Doctor Who in late July 2005. His first full-length outing as the Doctor was a 60-minute special, "The Christmas Invasion", first broadcast on Christmas Day 2005.

Tennant has expressed enthusiasm about fulfilling his childhood dream. He remarked to an interviewer for GWR FM, "Who wouldn't want to be the Doctor? I've even got my own TARDIS!" In 2006, readers of Doctor Who Magazine voted Tennant 'Best Doctor!', over perennial favourite Tom Baker.^[18] In 2007, Tennant's Doctor was voted the "coolest character" on UK television in a Radio Times survey.^[19] When Tennant was cast as Eccleston's successor, he had wanted to use his native Scottish accent and become 'the first kilted Doctor' according to an interview in the Daily Star, but writer Russell T Davies did not want the Doctor's accent 'touring the regions', so he used "estuary" English instead.

Tennant had previously had a small role in the BBC's animated Doctor Who webcast Scream of the Shalka. Not originally cast in the production, Tennant happened to be recording a radio play in a neighbouring studio, and when he discovered what was being recorded next door managed to convince the director to give him a small role. This personal enthusiasm for the series had also been expressed by his participation in several audio plays based on the Doctor Who television series which had been produced by Big Finish Productions, although he did not play the Doctor in any of these productions. His first such role was in the Seventh Doctor audio Colditz, where he played a Nazi lieutenant guard at Colditz Castle. In 2004 Tennant played a lead role in the Big Finish audio play series Dalek Empire III. He played the part of Galanar, a young man who is given an assignment to discover the secrets of the Daleks. In 2005, he starred in UNIT: The Wasting for Big Finish, recreating his role of Brimmicombe-Wood from a Doctor Who Unbound play, Sympathy for the Devil. In both of these audio productions Tennant worked alongside Doctor Who alumnus Nicholas Courtney, who reprised the character of Sir Alastair Gordon Lethbridge-Stewart. He also played an unnamed Time Lord in another Doctor Who Unbound play Exile. UNIT: The Wasting, was recorded between Tennant getting the role of the Doctor and it being announced. He also played the title role in Big Finish's adaptation of Bryan Talbot's The Adventures of Luther Arkwright (2005). In 2006, he recorded abridged audio books of The Stone Rose by Jacqueline Rayner, The Feast of the Drowned by Stephen Cole and The Resurrection Casket by Justin Richards, for BBC Worldwide.

He made his directorial debut on the Doctor Who Confidential episode that accompanies Steven Moffat's episode "Blink", entitled "Do You Remember The First Time?", which aired on 9 June 2007. In 2007, Tennant's Tenth Doctor appeared with Peter Davison's Fifth Doctor in a Doctor Who special for Children in Need, written by Steven Moffat and entitled "Time Crash". This was the first "multi-Doctor" story in the series since The Two Doctors in 1985 (not counting the 1993 special Dimensions in Time).^[20] Tennant also later performed alongside Davison's daughter, Georgia Moffett, in the 2008 episode "The Doctor's Daughter" with her taking the titular role as Jenny.

Tennant also featured as the Doctor in an animated version of Doctor Who for Totally Doctor Who, The Infinite Quest, which aired on CBBC. He also starred as the Doctor in another animated six-part Doctor Who series, Dreamland.^[21] Tennant guest starred as the Doctor in a two-part story in Doctor Who spin-off The Sarah Jane Adventures, broadcast in October 2009.^[22] Tennant continued to play the Tenth Doctor into the revived programme's fourth series in 2008. However, on 29 October 2008, Tennant announced that he would be stepping down from the role after three full series.^[23] He played the Doctor in four special episodes in 2009, before his final episode aired on 1 January 2010. The Daily Mirror reported that Tennant was forbidden from attending Doctor Who fan conventions while playing the role. This was done to avoid the chance that Tennant could accidentally let slip any plot points during filming of the series.^[24] He said at the Children in Need concert that his favourite Doctor Who story is Genesis of the Daleks from the Tom Baker era, while another interview included him mentioning that his favourite classic monsters were the Zygons; although he never appeared in a television story with the Zygons, his Doctor confronted them in the novel Sting of the Zygons.

Other television roles (2005–present)[link]

While playing the Doctor, Tennant was also in the early December 2005 ITV drama Secret Smile. His performance as Jimmy Porter in Look Back in Anger at the Theatre Royal, Bath and Lyceum Theatre, Edinburgh was recorded by the National Video Archive of Performance for the Victoria and Albert Museum Theatre Collection. He revived this performance for the anniversary of the Royal Court Theatre in a rehearsed reading. In January 2006, he took a one-day break from shooting Doctor Who to play Richard Hoggart in a dramatisation of the 1960 Lady Chatterley's Lover obscenity trial, The Chatterley Affair. The play was written by Andrew Davies and directed by Doctor Who's James Hawes for the digital television channel BBC Four. Hoggart's son Simon Hoggart praised Tennant's performance in The Guardian newspaper.^[25]

On 25 February 2007, Tennant starred in Recovery, a 90-minute BBC1 drama written by Tony Marchant. Tennant played Alan, a self-made building site manager who attempted to rebuild his life after suffering a debilitating brain injury. His costar in the drama was friend Sarah Parish, with whom he had previously appeared in Blackpool and an episode of Doctor Who. She joked that "we're like George and Mildred – in 20 years' time we'll probably be doing a ropey old sitcom in a terraced house in Preston."^[26] Later in 2007 he starred in Learners, a BBC comedy drama written by and starring Jessica Hynes (another Doctor Who costar, in the episodes "Human Nature", "The Family of Blood" and "The End of Time"), in which he played a Christian driving instructor who became the object of a student's affection. Learners was broadcast on BBC One on 11 November 2007. Tennant had a cameo appearance as the Doctor in the 2007 finale episode of the BBC/HBO comedy series Extras alongside Ricky Gervais. In November 2008 Tennant played Sir Arthur Eddington in the BBC and HBO biopic Einstein and Eddington, which was filmed in Cambridge and Hungary.^[27]

In 2009 he worked on a film version of the RSC's 2008 Hamlet for BBC2. From October 2009, he hosted the Masterpiece Contemporary programming strand on the American Public Broadcasting Service.^[28] In December 2009, he filmed the lead in an NBC pilot, Rex Is Not Your Lawyer, playing Rex, a Chicago lawyer who starts to coach clients to represent themselves when he starts suffering panic attacks.^[29] The pilot was not picked up and the project was shelved.^[30][31] In October 2010 he starred as Dave, a man struggling to raise five children after the death of his partner, in the British drama Single Father. For this role he was nominated as Best Actor at the Royal Television Society Programme Awards 2010.

In 2011 he starred in the BBC Two British TV film United, which tells the story of the Manchester United "Busby Babes" team and the 1958 Munich air disaster, playing coach and assistant manager Jimmy Murphy.^[32] In September 2011, he appeared in a guest role in one episode of the comedy series This is Jinsy, and also started filming True Love, a semi-improvised BBC1 drama series, on location in Margate, Kent. The series is due to air in June 2012. In April 2012, Tennant will play the lead in a one-off drama The Minor Character for Sky Arts.^[33] In April 2012 it was announced that he will star as Jean-François Mercier in BBC4 drama series Spies of Warsaw, which films in Poland between April and June.^[34]

Other work (2007–present)[link]

Tennant was the "Star in a Reasonably Priced Car" on Top Gear in December 2007, where he claimed to have unsuccessfully auditioned for a role on Taggart 26 times.^[35] Tennant is the voice behind the 2007 advertising campaign for catalogue retailer Argos, and appeared in adverts for The Proclaimers' 2008 album and learndirect in June 2008 (using his natural Scottish accent in both). Tennant also lent his voice to adverts for Tesco Mobile, Nintendo Wii, and American Express.

Tennant appeared in Derren Brown's Trick or Treat.^[36] In the 26 April–2 May issue of TV & Satellite Week, Brown is quoted as saying: "One of the appeals of Doctor Who for David is time travel, so I wanted to give him that experience. He was open and up for it, and I got a good reaction. He's a real screamer!" The episode aired on Channel 4 on 16 May 2008, and showed Tennant apparently predicting future events correctly by using automatic writing. Tennant also returned for the final episode of the series with the rest of the participants from the other episodes in the series to take part in one final experiment.

Tennant at Stratford-upon-Avon

Tennant appeared in the 2008 episode "Holofile 703: Us and Phlegm" of the radio series Nebulous (a parody of Doctor Who) in the role of Doctor Beep, using his Lothian accent. Also in 2008, Tennant voiced the character of Hamish the Hunter in the 2008 English language DVD rerelease of the 2006 animated Norwegian film, Free Jimmy, alongside Woody Harrelson. The English language version of the film has dialogue written by Simon Pegg, who also starred in it as a main voice actor. In early 2009, Tennant narrated the digital planetarium space dome film "We are Astronomers"^[37] commissioned by the UK's National Space Centre. On 13 March 2009, he presented Red Nose Day 2009 with Davina McCall. He joined Franz Ferdinand onstage to play the guitar on their song "No You Girls" on a special Comic Relief edition of Top of the Pops. In summer 2009, Tennant filmed St. Trinian's II: The Legend of Fritton's Gold. The film was released in December 2009.