Arguably the most signi. cant innovation of the 1980-81 season - producer John Nathan- Turner’s . rst - came with new designer Tony Burrough’s designs for the penultimate adventure, The Keeper of Traken.
Wheeled ‘towers’, each side hung with a di. erent fascia, were rotated and reassembled to make di. erent sets - in this case, inspired in part by turnof- the-century art nouveau, in part by the modernist architect Gaudí. Burrough’s talent for designing these so-called ‘jigsaw’ sets made a big impression on Nathan- Turner, who saw not just how they could be used to achieve a greater unity of feel, but their economic value, too: “Designers who are good with jigsaw sets are invaluable to Doctor Who as they enable us to achieve a large-scale look to a production without spending excessive amounts of money,” he told Doctor Who Magazine in 1982.
Burrough worked on Four to Doomsday, Black Orchid, The Two Doctors… and Warriors of the Deep (1984), a story synonymous with (arguably) over-lit Sea Base 4 sets that failed to disguise the de. ciencies of the pantomime horse-like Myrka monster. Much less commented on is the impressive cooling chamber set constructed at Shepperton Studios for the Part One cli. hanger, in which the Doctor fell from a gantry built into the full watertank below. Burrough went on to a career in feature . lms, and was Oscar-nominated for his work on the quasi-1930s version of Richard III (1995), starring Ian McKellen.
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