Goodnight Mister Tom. The Caxton Players. Caxton Theatre, Grimsby. 27 November 2025.

The Caxton Players’ production of Goodnight Mister Tom unfolds on the Caxton Theatre stage with a warmth, poignancy, and emotional clarity that make it an outstanding piece of community theatre. Rob Till’s direction is confident and deeply compassionate, shaping the story into a vivid, living experience that resonates from the opening moment to the final, tender scene.

The story of the evacuees of World War 2 is a (more than familiar) one. At its time of greatest peril, the UK's children were evacuated out of the towns and cities most at risk from the Luftwaffe's attacks, and shipped out to the safety of the country. There they were billeted with strangers. Some had the best time, others were deeply scarred by the abuse they received in their new homes. here Michelle Magorian's plot follows many of the beats you would expect from such a story with heart and compassion in this stage adaptation by David Wood.

The curtains open to reveal a very creative flexible stage set that suggests locations both indoors and outdoors that allow the action to roll seamlessly without complicated changes of scenery that slow down the action. Lit well and decorated in a stylish period fashion, it provides the perfect platform for this wonderfully nostalgic tale that sold out almost four weeks before it opened. Something which rarely happens since COVID and is a testament to the quality of the previous production, as well as the proven track record of Till as director.

Chris Dempsey, as Mister Tom Oakley, delivers a performance of striking gentleness and emotional depth. In the present tense, he inhabits the stage with a quiet authority, embodying Tom’s gruff exterior and ever-softening heart with remarkable skill. There is something quite heart-wrenching as he navigates his surrogate parenthood late in life after experiencing his own tragedy as a young married man. I know that audiences will shed many tears watching this beautifully tender performance.

Opposite him, Harry Lord’s William Beech is simply luminous. Harry brings a fragile honesty to the boy’s trauma and a glowing sense of hope to his awakening confidence; his scenes with Dempsey feel beautifully real and profoundly moving. I am getting quite used to seeing this young man on stage locally and he is racking up an impressive acting CV for one so young. It is fascinating that as he prepared for the role of William, Harry was also rehearsing for a role in Curtain Up's Chitty Chitty Bang Bang that opens at Grimsby Auditorium in January. He really is quite the special young actor.

Katherine Leonard’s puppeteering of Sammy is a subtle triumph. Sammy springs to life under her hands, energetic, loyal, and expressive, always active and alive, becoming a fully realised character in his own right and adding both warmth and humour to the show. Leonard brings her experience as a puppeteer from her work as a key member of Kazbah Theatre - a local company specialising in making theatre for children and family audiences involving puppetry. Her impressive work with Sammy makes you forget that she is even there alongside Sammy.

Helen Kent, as the cruelly self-righteous Mrs Beech, delivers a truly chilling performance. She stands in stark contrast to the compassion of Little Weirwold, and her moments on stage strike with sharp emotional precision. She really is quite terrifying as she berates William for "lying" about the gifts he has received from his new friends. It is a fascinating contrast to her earlier role in the show as the efficient and compassionate billeting officer responsible for finding homes for the evacuees.

Though a relative newcomer to the Caxton Players, Martin Traylen is proving a tremendous asset to the group as he brings a grounded steadiness to Doctor Little, offering a calm counterbalance to the turmoil surrounding young William. Like many of the cast he plays multiple roles and shows flexibility and variety in doing so.

The younger cast members shine with impressive assurance. The hyper-confident, would-be thespian and evacuee, Zach is played with verve and impressive energy by Oliver Plasket. His exuberance dominates the stage whenever Zach holds court and he is like a dynamo driving the children and young people in the village, inspiring them to make the most of their situation and assisting William both to settle in and to come out of his shell.

Jasper Barnbrook’s George bursts with bright energy, a perfect foil to William’s initial shyness. Isobel Downing’s Carrie is spirited, intelligent, and wonderfully engaging, offering encouragement and drive in every scene she enters. Lucy Ann Jessop as Ginnie brings an appealing sincerity and sweetness to her role.

Isla Webb, playing Mrs Hartridge, offers warmth and kindness in every gesture, while Alison Smith’s Miss Thorn radiates firm-but-gentle authority, creating a school environment that feels authentically nurturing. Steve Skipworth’s Mr Miller adds strong character presence, grounding the village community with believable texture. Olivia Brumby brings a remarkable maturity to her performance as both Miss Miller and later as the nurse in Act Two. An excellent performance by a noteworthy young actress from the ranks of the Caxton Youth Theatre. Alex Evans also plays multiple roles to great effect as Mrs Fletcher, and is particularly noteworthy in the Shelter scene as a Londoner seeking shelter from the Blitz.

Jack Scott, multi-roleplaying across several parts, displays remarkable flexibility and skill, shifting between roles with clarity and entertaining ease.

And Freddie Rising, making his debut in a cameo appearance as the youngest evacuee, is a delight. his wide-eyed wonder is confident, engaging, and utterly charming. His presence adds a lovely layer of innocence and life to the ensemble.

Under Rob Till’s steady hand, the production captures both the darkness of wartime Britain and the glowing humanity at its centre. The pacing flows seamlessly; the scene transitions feel thoughtful; and the emotional beats hit with precision. The entire cast and crew craft a world that is immersive, heartfelt, and ultimately uplifting.

Goodnight Mister Tom in the hands of the Caxton Players, will charm, thrill and move its audience. Sadly though, if you don't yet have a ticket, it has already sold out. It runs from 29 November to the 6 December 2025.

Andy Evans 27 November 2025