The success of that concert encouraged Doctor Who producer Julie Gardner and David Jackson (then Head of Music at BBC Wales) to meet the Director of the BBC Proms, Roger Wright, and suggest a Doctor Who-themed Proms concert.

[9] Davies incorporated interactive elements into his script to ensure that the live performance was "an event":[9] You can watch it later on the website, or on YouTube, or whatever, but frankly, you'll never know what it was really like unless you are in the Albert Hall on that day.

Julie Gardner told Doctor Who Magazine that the concert's planners considered a theme of "time and space" to tie in with Doctor Who, but decided that this "would lead to using the big sci-fi tracks from the likes of 2001, which would make the concert feel too much like a 'film and TV soundtrack day'.

[9] (At the 2006 Children in Need concert in Cardiff, a dress rehearsal had been attempted on the day of the performance, but there was only time to run half of the show.

[9][43][44] In the plot of the mini-episode "Music of the Spheres", a space-time portal opened from the interior of the Doctor's TARDIS to the Royal Albert Hall.

[5] During the interval of the concert, BBC Radio 3 broadcast "Let's Do the Time Warp Again", a 25-minute commentary by science fiction writer Justina Robson.

In the essay, Robson discussed the moral contradictions of Doctor Who and compared the programme with religious texts as a cultural touchstone.

[47] Writing in The Times, Caitlin Moran called the event "the hottest ticket in town this week," and added, "As a child's introduction to orchestral recitals, it is peerless."

Moran also noted "a moment of squirming shame" at the realisation that composer Murray Gold has not won a BAFTA.

[48] Bruce Dessau, writing in the Evening Standard, felt that the classical compositions "jostled for attention" with Gold's work, and called "The Torino Scale" "cacophonous".

Of the Doctor Who pieces, Dessau singled out soloist Melanie Pappenheim for her performance of Doomsday describing it as "haunting" and that it "hoisted the emotional level to a peak unsurpassed even when the team saved Earth, accompanied by the soaring Song Of Freedom."

Dessau's sole complaint was that the concert gave insufficient attention to the work of the BBC Radiophonic Workshop, and that the programme's conclusion with the Doctor Who theme "felt more like an afterthought than a climax.

He wrote that "the hundred-strong choir and soloist Melanie Pappenheim performed flawlessly," and also praised the technical execution of the complex programme.

"[49] Covering the event for Doctor Who Magazine, David Darlington noted that the stated aim of the Proms is "to encourage an audience for concert hall music who, though not normally attending classical concerts, would be attracted by the low ticket prices and informal atmosphere" and concluded that if the children in the audience had such a love for Doctor Who "that they have come all this way to spend an hour or two listening to the music from the show, and that they will happily also sit through a formal, experimental and rather abrasive piece of modern classical music and then enthusiastically applaud at the end, then all concerned can be happy with their day's work.

Beek also said that the performance of "Song for Ten" by original vocalist Tim Phillips "left a lot to be desired".