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|Robots of Death|
|Main character(s):||Kaston Iago|
|Main enemy:||Sandminer robot, Taren Capel, The Fendahl|
|Main setting:||Kaldor City|
|Publisher:||Lass O'Gowrie Productions|
|Writer:||Chris Boucher, Alan Stevens, Fiona Moore|
|Premiere:||22 July 2012|
|Metafiction||Storm Mine (stage play)|
Robots of Death was a stage play set within the continuity established by the Kaldor City series. It was adapted by Alan Stevens and Fiona Moore from the Doctor Who story of the same title as originally written by Chris Boucher.
Publisher's summary Edit
Adapted from the classic Doctor Who story The Robots of Death, Iago and Blayes are thrust back in time to the scene of Kaldor City's most infamous crime. Before they can rewrite history... they must simply survive it.
- Kaston Iago - Marlon Solomon
- Elska Blayes - Kate Millest
- Uvanov - Jessica Hallows
- Toos - Leni Murphy
- Poul - Gerard Thompson
- Dask - Clara James
- Borg - Miranda Benjamin
- Cass - Cliona Donohoe
- Kerrill / Robots - Daniel Thackeray
- Chub - Chris Tavner
- Voice of the Robots - Will Jude Hutchby
- Producer - Gareth Kavanagh
- Director - Kerry Ely
- Script Editor - Ian Winterton
- Voc Masks supplied by Terry Cooper
- This production of Chris Boucher's television script was part of the 'Greater Manchester Fringe Festival 2012' performed between July 22nd to July 24th at the Fab Café on Portland Street.
- The script was adapted around the mercenary Kaston Iago and his partner Elska Blayes replacing the Fourth Doctor and Leela. It also cross-genders many of the original characters of the televised version.
- The robots were performed by using mime, Will Jude Hutchby voicing them all from off-stage so that they share the same voice
- The Fab Café is a Cult TV and film themed bar and has a mock-up of the bridge from the original Starship Enterprise normally occupied by the DJ. For the purposes of this production it serves as a set for the bridge of the Sandminer.
- A special premiere presentation of the script, in the form of a read-through by the cast seated in front of a live audience, along with Storm Mime, was performed at the Fab Café on Portland Street in advance of the stage play's debut. For this performance only, former Blake's 7 star Paul Darrow appeared as Kaston Iago.
- The addition of the Fendahl to the climax of the story is in keeping with continuity established in the Kaldor City audio series. In AUDIO: Checkmate it is revealed the Fendahl has been manipulating events on the planet for its own ends. Its addition to the story also links the narrative with its follow up Storm Mine.
- Promotional artwork designed by Adrian Salmon. 
- Speaker to Animals priased Marlon Solomon's Iago for "wisely choosing not to imitate Paul Darrow", and Leni Murphy's Toos as "a finely judged comic performance". It also highlighted Terry Cooper's robot masks to be"an excellent approximation of those on TV". However, it did not consider this adaption to be a total success citing it's main failing as deviating from Chris Boucher's original concept:
- "On TV the Doctor had to investigate the mystery, then improvise an ingenious solution when Taren Capel was revealed. Here, Iago and Blayes are aware of Capel's presence from the start, and the story concludes in an unsubtle hail of plasma bullets. Worse, the last few minutes unveil another, previously unhinted-at force behind the events; it's the equivalent of Hercule Poirot gathering all the suspects together in the library, only to reveal the killer is from an entirely unrelated Miss Marple story before spraying the room with a machine gun. The play itself has been made strange."
- The Fiction Stroker declared the production to be a " fine re-creation of a classic... retaining much of what made the original enjoyable as well as adding new layers... this new version works free of the constraints of the Doctor Who format to the story's benefit.". Speaking of the two leads it said "Solomon's initially foppish Iago gives way to a more steely performance in the latter stages of the play whilst Millest's convincing performance is impressive. Millest knows how to work an audience and is captivating to watch." It also noted that the staging of the production at Fab Café to be, "for the most part, impressive".