Girl On The Train

Author: Richard Fitt

Information

Date
26th September 2024
Society
Sharnbrook Mill Theatre
Venue
Sharnbrook Mill Theatre
Type of Production
Play
Director
Davina Beegoo-Price & Michael Horne
Written By
Paula Hawkins

On a night where the real-life drama was as much about getting to and from the venue in what was the most inclement weather as it was about the drama onstage, a full house, which included the President of NODA, Christine Hunter Hughes settled down to watch this psychological drama based on the bestselling novel by Paula Hawkins. Directed by Davina Beegoo-Price (Creative) and Michael Horne (technical), this psychological thriller covers some very uncomfortable subject matter from alcoholism, jealously and infidelity to domestic physical abuse and sexual violence seen through the eyes of the deeply disturbed main character Rachel Watson, who still commutes to work six months after losing her job. It takes a highly skilled actress and supporting cast to successfully pull it off. Sharnbrook did not disappoint in that department!

The set, which was stage managed by Condoleezza Hankins and constructed by Dave Jones, Kevin Beirne, Tim Murdon and Gerry Stafford and painted by Flic Jones consisted of a railway tunnel exiting though the rear wall, with three domestic sets on the stage itself. Stage right was Rachel’s very untidy living room, with sofa and table scatted in empty bottles and tins of alcohol, crisp packets etc with a cabinet containing solely yet more alcohol, perfectly depicting her troubled and disturbed lifestyle. To the centre were two comfortable swing bucket chairs for the therapist’s office and to stage left was the more comfortable and orderly living room which served for both the living room of the Hipwell’s and the Watson’s home. The ingenious bit was the picture on the wall which magically changed before your eyes from a portrait of Tom and Anna Watson with their newborn baby to an abstract painting for the Hipwell’s. Very neat!

I have seen this play a few times including my own society’s version of it but what Davina Beegoo-Price, brought to the table was her background in psychology giving this play a very deep look indeed at the characters. This was particularly evident in the superb performance of Charlotte Pearson as Rachel as she struggled with her demons. The use of pauses was a masterclass in controlling pace. In normal circumstances so many pauses and silences would kill the pace of any show, but in this case it had exactly the opposite effect - it heightened the tension.  Her performance however had the audience fully onboard with her character’s psychology adding a whole new level. And she didn’t fall into the trap of over acting the drunk, by slurring her words or staggering around. It was much more subtle!

The same could also be said of Emily Dignan as Megan Hipwell, another deeply disturbed individual who had never quite recovered from the loss of her baby, with some well dramatized reconstructions of her conversations before her disappearance and murder.

I’ve never seen Inspector Gaskill played by a woman before and that came as a bit of a surprise, but Marie de Greeve’s portrayal was just right for this particular version, somehow making the conversations between Rachel and her more personal and intimate. Clever casting!

Trish Turner as the more demure Anna Watson fending off Rachel’s jealously whilst misguidedly defending her husband also hit the character spot on.

Our men were well matched as well. Gordon Ritchie was a very convincing Tom, the innocent superficial outward appearance and manner hiding his dark interior character. Some of the best and most convincing scenes were between Scott Hipwell played by Josh Broomhead and Rachel over coming to terms with them both being the prime suspects in Megan’s murder and what really happened. And Chris Lay was a fine red herring as the therapist hiding his true involvement with Megan. Nicely pitched guys.

Having two directors definitely enhanced this production, with Michael Horne being free to concentrate on the minutia of the technical side of the show, the train scenes with the flashing image of a passing train at speed was very effective for example. There was also original music composed by Leigh Smith, another nice innovative touch.

At the end of the show talking to the cast we were asked if we enjoyed the show. I think ‘enjoyed’ would probably not be the word to describe this disturbing subject matter and what we felt; however mesmerised and impressed with the quality and work put in by all involved certainly would be. So well done to Davina Beegoo-Price and Michael Horne for this quality offering. If this is your first collaboration I very much look forward to your postponed 1984 in the near future.

 

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