84 Charing Cross Road

Todmorden AODS’s production of 84 Charing Cross Road at the Hippodrome was a quietly absorbing piece of theatre, elegant, well-paced, and full of character. Adapted from Helene Hanff’s memoir, the play follows the decades-long correspondence between Hanff, a witty New York writer, and Frank Doel, the courteous chief buyer at Marks & Co., a second-hand bookshop in London. Spanning 1949 to 1969, the story gently explores literary passion, cultural exchange, and the unexpected depth of friendship formed across distance.

Director Chloe McNeill steered the production with a light but confident touch. Her staging was natural and fluid, allowing the emotional beats to land without fuss. The shop felt genuinely busy, staff boxed orders, unpacked stock, checked ledgers, and dressed windows with seasonal flair. These actions were not just background; they gave the piece rhythm and realism. Accents were well handled, evoking the era with charm, and the cast moved with purpose, never static or overplayed. Chloe’s direction brought out the quiet humour and emotional resonance of the script, letting the story speak for itself.

The set, designed by Steve Clarkson, was a real highlight. The shop interior filled the stage, with shelves packed full of real books. Two display windows flanked a half-glass door, stage right, its reversed sign advertising Marks & Co. from the inside. A main desk stood front stage right, with a smaller desk centre stage, a small set of stairs stage left led to a raised platform with another desk and a leather wingback chair. The staircase also angled upward and offstage, from the platform leading to an additional exit. The build, by David Winslow and team, was solid and seamless, no wobbles, no distractions, just well-crafted work. Helene’s apartment was set front apron stage left, with her correspondence desk slightly further back. It was small but full of character: eclectic bookshelves, a period radio, an old sofa with cushions, and a folding blind created a lived-in, authentic feel. The space was used well, balancing the transatlantic narrative with clarity and charm.

Lighting by Tom Sutcliffe, assisted by Ren Nightingale, was atmospheric and well judged. Warm ambers bathed the London bookshop in nostalgic glow, while cooler tones defined Helene’s New York apartment. Transitions were smooth and supported the emotional shifts. Andrew Hillock’s sound design was spot on, telephone rings, radio hums, and background noises all landed cleanly, with no microphone faults or technical distractions.

Karen Ross and her team delivered a smart, period-appropriate wardrobe. The gents wore tailored suits, the ladies elegant 1940s dresses. Helene’s costumes evolved subtly over the years, reflecting her changing circumstances. A particularly nice touch was the gentle greying of her hair as time passed, understated, but effective. Props by Nina Hatfield and team were outstanding. The sheer volume of books, carefully placed and curated, transformed the shop into a believable literary haven. The windows were dressed for each passing event, flags for the coronation, strings of Christmas cards, and finally, a celebratory display of Helene’s published novel. These touches added visual interest and narrative depth.

Lizzie Dewsnip gave a fantastic performance as Helene Hanff. Her delivery was natural and engaging, with comic timing that felt effortless. She spoke as one might in conversation, never overly performed, which made her scenes feel intimate and real. Her command of the text was impressive, no slips, even with some challenging author names and wordy passages. As the years passed, her portrayal deepened, aided by thoughtful costume and hair changes. It was a warm, grounded performance that carried the heart of the show.

Leon McKenna brought quiet dignity to Frank Doel. His early scenes were marked by polite reserve, gradually softening into warmth and gentle affection. His delivery of titles and names was crisp and confident, and his memory for lines was strong. Particularly moving were his subtle physical choices as Frank’s health declined, small shifts in posture and movement that hinted at discomfort without overstatement. His final scenes were quietly affecting.

Hannah Sutcliffe was charming as Cecily, the friendly and chatty shop assistant. Her letters added warmth and humour, and she looked great in costume. Her accent was bright and era-appropriate, adding to the authenticity of the shop. Tillie Quattrone gave a gentle, grounded performance as Megan, contributing to the sense of a well-run, quietly industrious workplace. Tillie also played Maxine, bringing lovely energy to the visiting American, in her element, exploring the charm of a London bookshop with wide-eyed enthusiasm.

James Young gave two distinct performances as Mr Martin and Bill, shifting tone and physicality with ease. Mr Martin was reserved and formal, Bill more casual and personable. Jamie Law also handled dual roles well, portraying Alvin and Thomas with clarity and contrast. Anne Tully gave a quietly memorable performance as Mrs Todd, bringing warmth and understated charm to her scenes.

The entire production ran smoothly under the stewardship of Stage Manager Sebastian King, assisted by Gina Davidson. Transitions were clean, cues well timed, and the overall flow impressive.

Todmorden AODS’s 84 Charing Cross Road was a thoughtful, well-crafted production that honoured the spirit of Hanff’s memoir. With a strong cast, detailed staging, and a quietly confident directorial hand, it offered audiences a gentle reminder of the connections we form through words, kindness, and shared love of books. A lovely piece of theatre, delivered with care and clarity. I would like to thank David Winslow for his hospitality through the evening and look forward to more show from Todmorden AODS in the future.

 

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