Goodnight Mister Tom

Goodnight Mister Tom

Adapted by David Wood from the novel by Michelle Magorian

Set during the build-up to the Second World War, the story followed young William Beech as he is evacuated from London to the West Country. Will is billeted with elderly recluse Tom Oakely who quickly realizes that the lad has been badly treated by his mother and endeavours to build his trust and confidence.

This was a good production for a large company of youngsters and adults to work together and also provided the opportunity for some new and less experienced members to “have a go”.

The backstage crew certainly facilitated the director’s vision of a “storybook” production as the flats were folded in and out in true picture-book style, switching as the action dictated from the village to London and back again.

The large supporting cast played a range of cameo roles, and among the gentlemen some memorable individuals emerged, the Vicar, the pipe sucking Shopkeeper, and the GP who also played the cockney Ticket Collector.

The ladies too pitched in with busy changes playing stock amiable village characters, an officious Billeting Officer, an hilarious East Ender cracking jokes in the bomb shelter and a very troubled and disturbed Mrs Beech, the mother of Will.

Younger members of the cast gave great support as the delightful refugees with the two older ones doubling as a brusque and efficient Nurse and a London Policeman, and there were some fun scenes when they indulged in a spot of amateur dramatics!

Will’s friend Zach did amazingly well coming late into the role and had great stage presence.

Full credit must go to Mr Tom and Will for their engaging performances, the growing relationship between the two was totally believable, culminating in a delightful ending which reached out touchingly into the audience from the stage. Young Will was exceptional and the scene when he cuddled Zach’s pullover on learning he had lost his friend in the bombing was heartfelt.

The music, sound effects and costumes were well chosen for the piece, and the bicycle and radio were spot on for the time.

The different scenes around the village together with those in London were achieved by frequent changes, and the “backstage crew” deserve tremendous praise for what was an exceedingly busy show, though at times this did distract attention from the story. The decision to work with a “flat” floor rather than raising the level, except for a small area USR for the attic bedroom, was understandable, particularly as the Director wanted to accommodate the bicycle, but it did on occasion make for difficult sight lines.

This was a tremendous challenge to bring such a well-known story to the stage in what was a fairly short rehearsal period and in today’s testing times. The planning, hard work and dedication on the part of the whole company shone through making for a most enjoyable production which was very warmly received by the audience on the last night!

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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