Goodnight Mister Tom

It was difficult not to draw comparisons between the film version of Goodnight Mister Tom, with John Thaw in the title role, and the LADS adaptation. However, once I settled into it, the production proved to be a worthy retelling of this beautifully tragic wartime story, one that must have been all too common for its time.

Gavin O’Mahoney’s portrayal of Mister Tom was filled with warmth and a gentle sincerity that made his character instantly endearing. His scenes with Vivienne Lea, as William Beech, were especially moving. Vivienne delivered a performance that must have touched every heart in the theatre — from the tender moments with the baby to the devastating discovery of her tied up in the cupboard, followed by the harrowing nightmare sequences. These scenes were truly heart‑wrenching.

In contrast, the comfort William found in Sammy the dog — played with charm by Penny Ledington, who captured the canine mannerisms beautifully.

The village children initially captured that subtle blend of childish cruelty — the kind picked up from overheard adult conversations — and innocent playfulness. Once corrected, this quickly softened into genuine friendship. George, played by Sebastian Vening as a rambunctious little scallywag, soon met his match in the formidable yet lovable Mrs Fletcher, his mother, and the transformation that followed was both believable and charming. Sebastian delivered a lively, confident performance, matched wonderfully by the larger‑than‑life presence of Isabel Barker as Zach. I enjoyed her performance enormously; she radiated infectious joy and, though occasionally exasperating, she embodied the character exactly as written — bright, buoyant, and impossible to ignore.

The supporting cast added a depth to the production, each contributing to the overall storytelling and enjoying their own moment to shine — or, in the case of Hilary Benoit as Mrs Beech, to chill the audience to the bone. Hilary delivered a stark, unflinching portrayal of a cold, heartless, and cruel woman, played with such deliberate precision that any sympathy we might have searched for was swiftly extinguished. If her aim was to make us despise Mrs Beech, she achieved it with absolute success.

I was pleased to see the production remain largely faithful to the storyline I knew so well; however, the sudden shift into farce during the extended use of strobe lighting felt somewhat misplaced. What should have been one of the most emotionally charged moments in the play — the rescue of William — instead took on an unintended resemblance to a scene from the Keystone Cops. The audience found it hysterically funny, and if that was the intention, then it certainly achieved its aim. For me, though, the humour undercut the gravity of the moment, even though I fully respect the Director’s artistic discretion.

In addition, the set felt, to me, more complex than necessary. With the cast moving so many pieces themselves, the atmosphere that had just been created was often interrupted — though I appreciate the practical reasons behind the choice. A fixed bedroom alongside the kitchen, with lighting used to shift between the two, might have offered a smoother transition, though I’m sure there were valid considerations that prevented this. The amount of black space was unfortunate, as it was difficult to light and occasionally pulled focus from the story.

Even so, the actors handled the challenges well and delivered strong performances that compensated for the disruptions.

As always, thank you for the privilege of attending your production.

Louise Hickey, Regional Representative district 1

Having attended productions of Goodnight Mister Tom in the past in my role as Regional Councillor for NODA West Midlands, I was pleased to join Louise at Ledbury Market Theatre.

I would concur with the points raised in the report regarding the development of the characters and the tenderness that grew between the actors playing Mister Tom and William. I felt that the mannerisms portrayed by Penny Ledington in the role of Sam were particularly effective, and I wondered whether they may have been modelled on a real dog. Sebastian Vening, as George, gave a very convincing portrayal of a bully who ultimately turned out to be a genuine friend to William.

The sound throughout the production was well balanced. I particularly noted the handling of baby Trudy’s crying, whereby the level was appropriately muffled when the character was positioned behind the under-stairs door.

I also agree with Louise’s comments regarding the set. Due to a sensitivity to strobe lighting, I could not watch this section; however, I could hear the reaction from those around me, the scene appeared to be of considerable duration.

Vocally, dialogue was clearly audible throughout, even during softer delivery, which is not always easy to achieve.

I would like to thank Ledbury Amateur Dramatic Society for bringing this wonderful story to a full house throughout the run, and I look forward to seeing everyone again very soon.

Andy Brown, Regional Councillor NODA West Midlands.

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