The Railway Children

Many thanks for your invitation to your fully immersive production of ‘The Railway Children’.  What a wonderful idea to be transported to the playing area by a steam train called Alf Benney provided by Helston Railway from the platform at Prospidnick, with members of the team dressed in period costumes to Truthall Halt. We were then cordially invited to take part in an Edwardian fete with food and drink, games to participate in such as a coconut shy, hoopla and Madam Rosa a fortune teller, hopefully my promised trip will materialise later in the year. The play was to be performed in a marquee on the site which had been thoughtfully divided in half to ensure the members of the audience that arrived on the second train had plenty of seats to choose from.

The classic tale of ‘The Railway Children’ by Edith Nesbit is still probably best remembered from the 1968 serial adaptation on the BBC or the 1970 Lionel Jeffries film both of which had Jenny Agutter staring as Roberta and it was wonderful that she had sent you a message wishing you success.  Mike Kenny’s adapted script brought a freshness, modernity and humour to the story which contained many issues that are relevant today. The characters are real and as he says “We are still facing things like poverty and prejudice, there are still political refugees searching for their families… the children sound like people we know… But most of all, I think people return to it because it is full of kindness.  Bobby, Phyllis and Peter are constantly trying to the right thing”, but not always successfully. One notable change was the breaking of the fourth wall. With the main protagonists directly addressing the audience to move the story forward and instructing them at certain times to make use of their imagination and then slotting quickly back into the story with the other cast members.

The staging was well designed, decorated and set up in a ‘u’ shape at the back of the marquee with stage left being decorated with bricks to represent the family home. Stage right provided the main entrance to the station and the horizontal at the bottom contained the red and white slated building and station gate with a flat showing greenery. Behind the gates a trolley on wheels was used effectively to show the trains moving along the track with plenty of steam.  There were five entrances and exits which were effectively used by the members of the cast.

The lighting had been carefully designed to add mood and enhance the performance and was well controlled.  The sound operated correctly to ensure all the speech and sound effects such the echo when the children were in the tunnel were all clearly audible to the audience.

The props both large and small were well sourced and added detail to the performance, I particularly like the period pram with the gifts in, the authentic doctor’s bag and the inventive use of an obvious strengthened case as a seat. All those with personal items managed them without any issues.

The musical accompaniment added layers of interest during the fete where Millie Millington was wondering around playing the accordion. I was also made aware that the incidental music used during the scenes and scene changes and Bobbie’s birthday song were composed by her, what a talent. It was lovely to hear the band music playing in the prologue.

Your costume department pulled out all the stops not just for those members of the company on stage but  those who were front of house and manning stalls at the fete.  I have worked on costumes for many years and there were a few of items that I thought were a little incongruous.  Albert’s sand shoes/slippers were too modern, Bobbie’s coat although the correct shape was a little limp and the cook’s mop cap could have done with new elastic or a couple of hair grips. That begin said the male costumes clearly showed the distinction between the classes with the workers wearing rough trousers, shirts and waistcoats and the more well to do with well-cut suits, shirts, waistcoats and hats. The ladies were also beautifully adorned with a variety of shirts, skirts, dresses and headwear. I also loved the fact that footwear and hair had carefully been attended to and added to the overall picture.

It was very interesting to read your young director’s information in the programme. All the years he has spent working with different groups had obviously taught him great skills. He showed a clear vision, created believable characters with clear diction, great storytelling and scene direction throughout. As mentioned, before he had to ensure the three children were sufficient practiced to be able to move between talking to the audience and the other players which they did seamlessly. The cast must have had great faith in him to be able to produce a well-directed, fast moving, thoroughly entertaining show. What a privilege you have to possess a young man with such talent, I expect to see his name directing many other performances.

The three children guided us through the play from start to end. They all understood the need to interact with the audience whether it be a look, a head inclination or a gesture and told us their journey as ‘The Railway Children’

Roberta (Bobbie) the eldest child led their story from a wealthy London residence to the lowly 3 Chimneys Cottage in the Yorkshire countryside. Your player displayed the subtleties of a young women who realised something awful had happened to her father while ensuring neither her or her siblings bothered their mother. She demonstrated her burgeoning maturity when making decisions related to her mother’s illness and requests to the doctor and Old Gentleman. The scene when she confronted her mother with the newspaper was heartfelt and her reactions to Jim in the tunnel showed a coy demeanour. Her reactions at the end of both acts were scene stealers.

The only boy in the family Peter appeared to think he needed to be the man of the house when his father was no longer at home. The problem with this was that his actions created more problems which required solutions. I enjoyed his ‘mining not stealing’ scene and his thank you speech displayed his immaturity clearly. He created a believable character, with myriad facial mannerisms and showed a wonderful sibling bond with his sisters.

The actor playing the youngest daughter Phyllis did so with aplomb. She portrayed her as a loud, (I think her “Hello” was probably heard in Helston town centre!) confident, cheeky, tomboy who said what she thought. I loved her wanting ‘a baby elephant’ instead of a watch.  She had a fantastic range of stances, facial expressions, great comic timing and commanded a scene. But with all the bluster she showed great care for her family and Bobbie’s birthday was lovely.

The actors depicting the servants in the family’s London home gave good performances. The Cook had a brusque manner and took great pleasure in passing on the bad news about their father to the children. The Butler and Maid created kinder and more sympathetic characters.

Mother was perfectly played. When her husband was arrested all the responsibilities both for the children and proving his innocence passed onto her. She maintained a positive manner and was devoted to her children only showing her disappointment with Bobbie when she found out about her message to the Old Gentleman. Even though she was constantly working to ensure her family had an income she willingly took in the Russian and later Jim. Although Father was only in two scenes your player created a loving husband and father who was determined to prove his guiltlessness and of course he returns to the tear-jerking conclusion.

The policemen who had been dispatched to arrest Father on Peter’s 10th birthday gave commanding performances. Although much of their scene was performed in mime their gestures and stances demonstrated their meaning.

Albert Perks the station porter was the first person to welcome the family when they alighted at Oakworth station which he looked after with pride. Your player displayed all the aspects of his character he was a friendly, hardworking, likeable, caring with the children, had an excellent Yorkshire accent and a brilliant affinity with the audience. He showed his working-class pride when the children presented him with gifts from the village. A stand out performance. Mrs Perks might not have been as evident during the performance but your player created a lovely homely character with a good accent and core of steel. She stood her ground with Albert and managed her well-behaved ever-growing family.

The housekeeper of 3 Chimney’s Cottage Mrs Viney was shown as a warm, friendly, helpful local who proved her true attachment to the new family.

When Bobbie approached the doctor, he presented as a well-respected country clinician who provided affordable care for his patients. The player created a calm, knowledgeable character.

The iconic role of the Old Gentleman a director of the Great Northern and Southern Railway was brilliantly depicted by your cast member. He brought gravitas to the role and created a kindly old school persona. He waved at the children at 9.15am every day and ultimately was prepared to help the young children who initially waved at him.

Mr Szezcpansky was a complex role to enact. Not only was he in a country where the majority of the people did not understand his language he was in fear of recapture and recriminations. His portrayal was spot on the fear he showed in his face when he initially collapsed on the station was palpable. The three children tried their best French to communicate with him but ultimately had to fetch their mother who took him in. The inane smiles he gave the children spoke volumes.  You certainly made use of this actor’s skills he depicted three very different characters the first two I have mentioned but he created the youthful Jim taking part in the paper chase. Although I totally understand why you used the same actor who he had been cleaned up and was in an appropriate costume when depicting Jim I found the short space of time between the two important characters made him a little less believable. I did wonder if he had a cap/hat on to cover his hair in one of them would have made a difference. Saying that his interactions with the three children, especially Bobbie was lovely to witness.

The District Superintendent and Worker delivered clear characterisation in their cameo roles and the ensemble of adults and children added to the hustle and bustle of events at the Oakworth station and supported the performance well.

This was a thought-provoking performance with strong themes, laugh out loud moments, but was ultimately based around family, kindness and community. It contained all the iconic features of the original book and I defy anyone not to require a handkerchief at the end. I thought the tableau of the whole family facing away from the audience added poignancy.

Thank you for a wonderful afternoon’s experience. Many congratulations to your whole team.

Disclaimer 

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

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  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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