The Titfield Thunderbolt

The Titfield Thunderbolt by Philip Goulding tells the heartwarming tale of a group of post-war English villagers who rally together to save their local railway line from closure. Faced with bureaucracy and doubt, they take on the impossible by deciding to run the railway themselves, resulting in a delightful mix of comedy, community spirit, and uplifting resolve. Loosely based on a true story, it offers a nostalgic snapshot of rural England in the early 1950s, rich with eccentric characters and earnest camaraderie.

Having visited Wilmslow Green Room Theatre several times this year, I continue to be thoroughly impressed by their inventive use of performance space. For this production, they positioned the audience at both ends of the open stage, enhancing intimacy and immersion. The set design effectively transported us to a modest train platform, dated 6th June 1952, which immediately grounded the audience in the appropriate era. Bathed in warm lighting, the space evoked the quiet charm and optimism of post-war village life.

Sonia Dykstra’s direction was nothing short of visionary. Her skill in navigating the emotional nuances of the script while allowing comedic beats to shine through was masterful. One particularly memorable moment was the physical theatre sequence in which the performers embodied a moving train—ingenious, playful, and utterly captivating. I must also commend Sonia and her technical team for the impressive train revealed at the end of the performance—an ambitious and well-executed piece of staging that surely required countless hours of hard work and coordination.

Chris Hills’ lighting design supported the storytelling beautifully, balancing brightness and shadow to clearly highlight facial expressions and actor movement. Similarly, the sound design by Mark Seyler and Dave Midgley was perfectly suited to the era; the music choices offered an evocative underscore to key moments of physicality and dialogue, with thoughtful attention to period detail and volume control throughout.

On stage we were introduced to Mr Blakeworth, the by-the-book town clerk portrayed with conviction by Charlie Cook. His portrayal captured the balance between scepticism and reluctant enthusiasm, becoming the emblem of order in the chaotic enthusiasm of the village project. Cook’s control of posture and precise gestures further grounded the character’s authority. Paul Lewis as Dan Taylor provided a warm, endearing counterbalance. Quietly competent and unassuming, Lewis delivered his lines with an engaging clarity and timing that gave his character essential depth. Of course, leading the charge was the irrepressible Lady Edna Chesterford, played by Victoria Johnson with impeccable poise and comic timing. Her portrayal was the embodiment of aristocratic resolve, delivered with just the right touch of theatrical flair. Her strong stage presence and refined characterisation made her a joy to watch from entrance to exit. In contrast, Hugh Everett’s Vernon Crump was the perfect foil—a sly, determined antagonist bent on sabotaging the villagers’ efforts. Everett’s performance was bursting with energy and wicked charm, eliciting roars of laughter during his exaggerated—and expertly timed—farcical antics. His eventual downfall was all the more satisfying for the sheer scale of his earlier scheming. Playing his hapless son, Max Walker brought a subtle vulnerability to Harry Crump, portraying youthful indecision with an authentic sensitivity. The scenes between Harry and Joan Weech—sweetly brought to life by Maddy Prescott—were tender and genuine. Prescott’s performance was sincere, grounded, and refreshingly restrained, allowing the budding romance to feel wonderfully believable. The moment their storyline reached its resolution, the collective ‘aww’ from the audience was audible and heartfelt. Amidst the ensemble, standout performances continued to shine. David Reynolds, as the delightfully eccentric Mr Valentine, struck the perfect tone of loveable mischief without tipping into caricature. His comic instincts added variety and spontaneity that enriched the whole production.

All in all, this was a vibrant and well-crafted piece of theatre, clearly not without its logistical challenges—but ones that the Wilmslow Green Room Theatre met with professionalism and inventiveness. The cast and crew should be immensely proud. It’s always a pleasure to return to such a welcoming venue, and I look forward to many more future productions.

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