The Leisure Hive

The Leisure Hive marks the biggest stylistic change in Doctor Who since Spearhead from Space, something which is obvious from the start. For the first time, someone other than Delia Derbyshire has realised the theme tune. Peter Howell’s arrangement is the earliest one I remember and I still think it is a very good reinterpretation of the Grainer/Derbyshire original.

But onto the story. David Fisher shows us Argolis, a world that has been ravaged by nuclear war, whose sterile survivors have constructed the titular Leisure Hive- a recreation complex that aims to teach the value of tolerance to the Galaxy as a lat gift to the ages. However, the Leisure Hive is on the brink of bankruptcy, just at the time when the Hive’s pioneering science of tachyonics might provide hope for the doomed Argolin race. How much of this is Fisher’s is unclear- the tone is somewhat more serious than his previous contributions, probably due to Christopher Hamilton Bidmead being the script editor. However, the script is by no means mirthless, showing that Bidmead knew the value of carefully used humour. Whoever was the main force behind the script, it is very effective. There is very little padding (this is, incidentally a rather short four parter, running only 90 minutes in total) and there is some very effective world building. We have the dying Argolins, whom the war have mutated into a race with a long youth and middle age, but a very rapid old-age. They were the aggressors in the war and are now attempting to atone. Their former enemies, the Foamasi, are a somewhat socialistic reptilian race who have, nevertheless, have fringe groups devoted to capitalism. The characters are very well written, with Pangol, the bellicose youngster Argolin contrasting well with Mena’s dignified elder.

However, what really distinguishes the story is the direction, from the very first scene which begins with a very long tracking shot of Brighton Beach. Lovett Bickford seems to have abandoned the usual method of studio direction – sitting in the gallery and cutting from camera to camera. Here, every shot has been planned and individually lit, meaning that the editing was done mainly in post-production. The story tries to find a new way of doing even the most basic shot- for the first time, the camera moves when the TARDIS materialises. However, The Leisure Hive is not merely a simple montage of ambitious techniques. Bickford has not forgotten the power of an arresting image, with the memorable tachyon dismemberments and the way in which the Argolins rapidly age. The scene where Brock is unmasked is edited in a genuinely terrifying way. Bickford also manages to get superb performances from the guest cast. A young, but still instantly recognisable, David Haig is superb Pangol and Adrienne Corri is very memorable as Mena. I must also comment on the relationship between Hardin and Mena, a relationship that might blossom into love in different circumstances, beautifully played by Corri and Nigel Lambert. Tom Baker’s performance is the best in what seems like ages. He is more subdued, but by no means serious and his portrayal of the aged Doctor is wonderful. Lalla Ward is wonderful as Romana, from her petulance in the early scenes to the sense given that she has grown closer to the Doctor since the previous story.

This is the beginning of John Nathan-Turner’s tenure as producer. There are still a few fans who see JNT as the ruination of Doctor Who. Whatever else he would do, it is blatantly obvious that The Leisure Hive is far superior to most of Season 17 and I thoroughly enjoyed it.

NEXT: Meglos