The Caves of Androzani - Production

Production

Serial details by episode
Episode Broadcast date Run time Viewership
"Part One" 8 March 1984 (1984-03-08) 24:33 6.9
"Part Two" 9 March 1984 (1984-03-09) 25:00 6.6
"Part Three" 15 March 1984 (1984-03-15) 24:36 7.8
"Part Four" 16 March 1984 (1984-03-16) 25:37 7.8
  • The working title of this story was Chain Reaction.
  • This story was the first time former script editor Robert Holmes had written for the series since The Power of Kroll (1978), as Nathan-Turner had been keen to use writers new to the show instead.
  • Recording was interrupted by industrial action, which caused a serious delay in the filming of the serial. As a result, two sequences had to be cut. The first scene would have featured the Doctor and Peri at the opening of the story in the TARDIS. The Doctor was to explain to Peri the reason for their visit to Androzani Minor. Apparently, as a boy, the Doctor had started a "blown glass bottle collection," which was made from the sand of different planets. He had lost his Androzani bottle and decided to return there to retrieve some more sand. It was in this scene Peri was to say "You're such a pain, Doctor." However, when the final cut of the serial was made, it had been discovered that certain lines of dialogue (like the Doctor professing that "I am not a pain." and Peri's comments about needing sand to "make some glass") alluded to the cut sequence. To rectify this, Davison and Bryant voiced over part of their conversation while the TARDIS materialises from outer space to the planet. The second scene to be cut would have featured the Doctor battling with the magma beast in episode four. Other Doctor Who stories adversely affected by the industrial actions of the late 1970s and the 1980s were Resurrection of the Daleks (1984), which was delayed by a year, and Shada (1980), which was not completed.
  • While he is in his office, the character of Morgus frequently breaks the fourth wall by talking directly to camera. This arose through actor John Normington misunderstanding a stage direction.
  • The Fifth Doctor's regeneration, like the Fourth Doctor's, features a flashback of that incarnation's companions. However, for this regeneration, it was decided that special recordings of the Davison-era companions would be used instead of stock footage. This required Matthew Waterhouse, Sarah Sutton, Janet Fielding, Mark Strickson, Gerald Flood and Anthony Ainley to return in cameos for the regeneration sequence. Fielding, Strickson, Flood and Ainley were already under contract to appear in the stories of Season 21. However, special contracts had to be made for Waterhouse, who left the series in Season 19, and Sutton, who left in Season 20. Johnny Byrne, who created the character of Nyssa (in his 1981 story The Keeper of Traken) had to be paid royalties for the use of the character in the regeneration scene.
  • Davison has joked on several occasions of how he was "upstaged" by Nicola Bryant (Peri) in his last major scene as the Doctor. Before the regeneration hallucination occurs, Davison is lying on the floor and his head is resting by Bryant, who is kneeling beside him. As he is delivering his last few lines, Bryant's loose fitting outfit prominently displays her cleavage.
  • The closing title sequence for episode four featured the face of Sixth Doctor Colin Baker instead of Peter Davison, and credits Baker as the Doctor before Davison's own credit. This was the first and, to date, only time that the new lead received top billing in the final story of an outgoing Doctor.
  • The trousers Colin Baker wore in the regeneration scene were modified to fit his larger frame. Davison would later wear the same trousers when he reprised the role of the Fifth Doctor in the mini-episode Time Crash

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    The society based on production is only productive, not creative.
    Albert Camus (1913–1960)

    The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.
    Friedrich Nietzsche (1844–1900)

    The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.
    Debbie Taylor (20th century)