Goodnight, Mr. Tom.

It is hard to imagine what it would have been like to be a child evacuee during WW11. There must have been fear and singular feelings of trepidation too on the part of the host families who, as this play reminds us, had little or no choice about accepting a strange child into their midst. Add to this the horrors of a vicious war and life in the UK in the early 1940s could be described as challenging to put it mildly. Michelle Magorian, still  writing today, understood the massive changes of life imposed on children brought up in big cities suddenly transported to small rural communities far from home. The hope that their lives could flourish and continue safely away from the ever present threat of Nazi bombs is a noble one. Yet it raises many imponderables around the dynamics pertinent to the fresh relationships that were demanded. This adaptation by David Wood skillfully removes sentimentality. Yet, perhaps and almost conversely, it is a play that tugs at our heartstrings producing strong emotions. Perhaps we are even encouraged to say “Good old, England. I always knew our chaps would do the right thing.”, while humming “Land Of Hope And Glory” as the curtain falls.

I can think of no person better suited to direct a play of such integrity as Alison Bell.

In his introduction Paddy, the BDC Chair, reminded us that the age range of the players spans 70 years. Let me record at this point that every person who contributed to staging this play in any way has my admiration. Mr. Tom was played to perfection by Andrew Smith. At first his character is wary of accepting a wild kid from the city. It comes as a shock to find he is commanded to be responsible for a sickly inhibited child. Andrew’s ability to convey surprise, consideration and understanding in the early weeks of his new relationship was done with immense control. We were able to share in his confusion about his apparent lack of experience in these matters. Never oveplaying the role, Andrew revealed a character deeply responsible and (surprising even to Mr. Tom himself), a person quite at ease in emanating an aurora of love. One of the messages of the book is that while terrible deeds are being done on the battlefields, however they are defined, there is still hope at the bottom of the box waiting for those willing to embrace its unequivocal offer of better times ahead.  The character of Mr. Tom is its embodiment. Anita Shaw, once again showing us her ease in successfully creating a multitude of roles, was a stern billeting officer and an engaging Miss Thorne.

Young Ciaran Glass played William Beech with assurance. It was easy to forget he was so young. Ciaran, ably directed by Alison, understood the range of his role. It is a part that demands changes in playing as often as the experiences of Will’s life demand fresh responses. I can offer no higher praise to you, Ciaran other than to say I believed in your character, you became for me, watching from the fifth row, William Beech. I suspect you will have learned many things about yourself by playing this part. Relish what you have experienced and use it in your later years, Ciaran for you have discovered the power of the theatre as an art form capable of revealing erstwhile illusive truths. Charlie Ruddles, what a superb name, and how names matter! was a charming creation in the hands of BDC legend Eric Nolan. Joanne Shepherd is yet another of those actors whose name in a programme one loves to see as you are assured of an intriguing outstanding performance. Joanne, you did it again. Dr. Little, the kindly local pre NHS doctor was portrayed by the ever capable Tony Lewis. Tony greased the pan and licked the spoon with all the abandon of the accomplished actor he is. As Mrs. Fletcher, Neely Jillings was terrifying. All she needed was a steeple hat to confirm her membership of her local witches coven. Transposing her abilities to become a social worker and Glad, Neely is another player it is always a treat to see on any stage.The doomed David Hartridge was a young patriot looking forward to life as a family man in Merry England. David Wood adeptly casually throws in a line about his death and thereafter the rest is silence. Observing Paddy Darnell-Walsh’s natural playing of this good natured man we were asked to reconsider the sacrifices our young men made in defence of our way of life. And of course herein we discover another hidden message to puzzle our will. ‘Bluebirds Over’? Well maybe, but not for everyone. Ginnie , George and Carrie, Darcy Tayler, Neil Vandanapu and Eve Lomax thrilled and excited in their eager portrayals of the young uninhibited war-immune children.William’s best friend and mentor Zacharias Wrench bounded onto the stage with the kind of assurance many older actors would envy. Totally different to William in his nurture instilled in him by his theatrical parents he was the epitome of well balanced optomistic confidence. It did not go unnoticed that he was of Jewish heritage, a neat reminder of the  horrors of the holocaust. We loved him and wept when he died.All the other parts were successfully drawn. Clive Stack as an assertive ARP warden Mr. Miller, Ben Ashworth as the vicar, Siona Chaudhary as Sally , Claire St. Pierre as a ticket collector and a nurse and Jonathan Mallinson as the policeman.

One of the most touching  scenes was that in the air raid shelter. Several different characters of differing backgrounds all gathered together on a bench with the common purpose of defying Hitler. It sent shivers down my spine. I suspect I was not alone. Integrity, good humour,  and self reliance,all rolled into one. I often say small things mean a lot. The sight of Jonathan standing stock still while holding a torch became for me a powerful symbol of determination. Alison Bell knows how to work  an erstwhile insignificant moment into something deeply affecting.  The comings and goings of ordinary people across the stage was immaculate. Oh how the audience warmed to Sam the dog. Suzanne Nolan, recently resurrected from her recumbent  role in “Loot”, was nothing short of stunning. I wonder how many hours she had spent convincing us that Sam was really alive. His reactions would attract the approval of any self respecting canine. Wonderful!Keya Edge, Sam’s creator, is to be congratulated too of course.How long did it take to gather, make, mend and borrow all the costumes for this 19 hand production I wonder? Jacqui Mooney and Shirley Watson had worked tirelessly to source outfits totally in tune with the times and the characters. Stage management by Ken Wilkinson was first class as were all the other components of this play.

“Goodnight Mr. Tom” unashamedly engages the emotions yet also demands you consider enduring truths of life in fresh ways. It was a magnificent production. And, enjoyed by what may be the largest audience in living memory for BDC at the Empire.  I am already relishing the prospect of Clive Stack’s “Jane Eyre” next March.

“Do you know”, said Will gazing over the wall at the oak tree, “do you think you can die of happiness?”

PRM.

 

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