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21 December 1963 - 1 February 1964

Average Viewing Figure: 9M


Arriving on the Planet Skaro, The Doctor and his companions meet the Daleks for the first time. Meanwhile a group of Thals face extinction when The Daleks plan to wipe them out.


William Hartnell (The Doctor), William Russell (Ian Chesterton), Jacqueline Hill (Barbara Wright), Carole Ann Ford (Susan Foreman)

Alan Wheatley (Temmosus), John Lee (Alydon), Philip Bond (Ganatus), Peter Hawkins, David Graham (Dalek Voices)

Robert Jewell, Kevin Manser, Michael Summerton, Gerald Taylor, Peter Murphy (Daleks), Virginia Wetherell (Dyoni)

Gerald Curtis (Elyon), Jonathan Crane (Kristas), Marcus Hammond (Antodus), Chris Browning, Katie Cashfield, Vez Delahunt

Kevin Glenny, Ruth Harrison, Lesley Hill, Steve Pokol, Jeanette Rossini, Eric Smith (Thals)


Terry Nation (Writer), Ron Grainer (Title Music), Tristram Cary (Incidental Music), David Whitaker (Story Editor)

Daphne Dare (Costume Supervisor), Elizabeth Blattner (Make-Up Supervisor), Raymond Cusick, Jeremy Davies (Designers)

Mervyn Pinfield (Associate Producer), Verity Lambert (Producer), Christopher Barry, Richard Martin (Directors)

Uncredited Crew

Jeremy Hare (Assistant Floor Manager), Norman Stewart (Production Assistant),  Brian Hodgson (Special Sounds)

Geoff Shaw, John Treays (Studio Lighting), Jack Clayton (Studio Sound), Delia Derbyshire (Theme Arrangement)

Adrian Bishop-Laggett (Grams Operator), Susan Pugh (Director's Secretary), Pauline Mansfield-Clark (Artists' Booker), Clive Doig (Vision Mixer)

Ken MacGregor, Mark Lewis (Technical Manager), Alan Mancey (Props Buyer), Jack Brummitt (Sound Supervisor)


Filming Locations

  • Ealing Film Studios: Stage 3

  • Lime Grove: Studio D

  • Ealing Film Studios: Stage 2

  • Ealing Film Studios


  • Temmosus [killed by The Daleks]

  • Antodus [falls into a chasm]

  • Elyon [killed by a creature from the Lake of Mutations]

  • Daleks [destroyed in an explosion]

Production Days

  • 15 Days between Monday 28 October 1963 - Friday 10 January 1964

Production Errors

  1. During episode two, the Tardis console shifts when Susan checks the fault indicator 

  2. During episode two, one Dalek has faulty lights and an eyes which fails to turn on

  3. During episode two, whilst Susan runs through the forest a voice coming from the studio can be heard

  4. During episode three, the shadow of boom microphone can be seen during an interior shot of the Dalek city

  5. The Creature which lives in the Lake of Mutations is supported by a rubber. When inflated the rubber ring gives the impression of movement. The ring is visible as the Creature rises out of the Lake 

  6. During episode six, a rock Barbara picks up is clearly fake as Barbara ends up with polystyrene on her hand

  7. During episode six, one Dalek appears to rattle at it moves down a corridor 

  8. During episode six, a Dalek collides with instruments its about to check

Working Titles

  • Episode 6: The Cave of Terror

  • Episode 7: The Execution


The Daleks is a first-class science-fiction adventure which introduces the show’s most memorable and beloved pepper-pot menaces, The Daleks. As a story, it’s pretty straightforward, packed full of enduring chase scenes, audacious escapes, excellent production designs, heart pounding cliff-hangers, an excellent score by Tristram Cary (it’s no surprise it was later reused many times), alien landscapes from a far off alien world, and a few secondary monsters to please the kiddies.

Terry Nation delivers seven scripts with plenty of imagery, but some risky messages for young children. The Thals who are seen as ‘beautiful’ are the good results after centuries of nuclear radiation, whilst The Daleks are worse off, evolving into mutant creatures that must be destroyed. It’s a little risky to say that anything ‘ugly’ must be destroyed, and anything ‘beautiful’ must survive. That being said, the issues are explored in depth, with no easy answer to resolve both sides of the argument. Contrary to ugly vs. beauty imagery, The Daleks, on the whole, are the ‘bad guys’. Terry Nation provides a solid platform where The Thals are given just cause to take up arms and fight for their survival. Besides this the scripts are incredibly strong, with various drawn-out scenes to up the tension, and plenty of frights to tighten the fear factor. Perhaps there are a bit too many convenient moments although The Daleks is not the worst offender for doing this, not by a long shot.


The direction is superb, Christopher Barry is the better of the two, but Richard Martin still shines. The direction is also ahead of its time, and often delves into the realm of voyeurism, where the viewers are positioned as the ones who are doing the menacing. The moment when Barbara is backed up against a wall, where a Dalek s-l-o-w-l-y advances towards her puts the viewers into an unnerving position the likes of which will never be seen again. The Daleks is a true delight and is a positive indicator for what is to come. ****

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