The Titfield Thunderbolt

The Titfield Thunderbolt began as a film in 1953 and was adapted for the stage in this instance by Philip Goulding.  The script is written for a small cast of 5 actors, all doubling up, or a large cast of 10 to 14.  Director John Levantis, making his SJP directing debut, chose to go the large cast route. 

It is June 1952 and the branch line between Mallingford and Titfield is losing money and British Rail is intent on closing it down. In desperation the villagers exploit the 1947 Transport Act and decide to take charge and run it themselves — with a train resurrected from a local museum.  As well as convincing the railway authorities that they are competent to work the line, they have to face problems from Vernon Crump who is set on providing a competitive bus service. 

After a slow start things built up a head of steam as everyone got into their stride. Leading this motley community from the front was the indomitable Rosemary Eason as Lady “Call Me Edna” Chesterford.  Edna never takes “No” for an answer and she soon has everyone rallied to the cause; especially railway enthusiast and Titfield Minister The Revd Sam Weech, extremely well personified by Martin Hunt aided and abetted by the Rev’s lovely niece Joan played beautifully by Poppy Saunders.  David Morris in the guise of Mr Valentine, the inebriated owner of the Pig and Whistle and Kieron Toner as the aforesaid Vernon Crump both gave first-rate performances.  Newcomers to SJP Huw Davies as Harry Crump/Sgt Wilson and Nick Gulvin as Mr Blakeworth the Town Clerk both did a sterling job. Good support too came from Colin Ransom (Dan Taylor), Olive Sparrow (Miss Coggett/Mrs Bottomley), Barbara Oxley (Miss Ruddock), David Wilson (Mr Clegg) and Graham Allen (Clifton). Liz Reed and Veronique Wagnall completed the cast making cameo appearances as villagers. 

The set has to depict several locations and there were some imaginative ideas on ways to achieve this. Obviously having to work with multiple areas limits acting space which unfortunately resulted in straight lines at times giving rise to dialogue being delivered out front. Set changes were made by the cast and each was done swiftly.  Costumes were excellent and in period therefore designer labels on footwear and a rather modern handbag niggled.   Graham Royston’s lighting design was good although it was a shame it had been decided to leave an area of the vicarage unlit as lack of space meant actors entering and standing stage left were in semi darkness. Sound effects as always were good. Loved the cattle grid!  The construction of the large model of the Thunderbolt was very clever indeed although cut down the acting space even more, leaving many of the cast in the final scene completely masked.

Once again SJP chose an audience pleaser.  Everyone in the auditorium all happily went along with the interaction called for from the stage.  Thanks for the name check by the way.  With echoes of a bygone age, this play is also a celebration of community and provides interesting comparisons with today as more and more of our community services are being run by volunteers.

Congratulations to St John’s Players for coming smoothly back to the stage with this production. As Chairman Kieron Toner said in the excellent and informative programme: “It has been a difficult time but its good to be back”.

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