The Railway Children
by E. Nesbitt
adapted by Mike Kenny
Louth Playgoers
Riverhead Theatre Louth
5 - 8 October 2022
Mention The Railway Children to people of a certain age and they will have a picture, firmly fixed in their minds of Jenny Agutter, Bernard Cribbins and Co. The tale of three Victorian children who are sent to live in the country with their mother, to escape the shame and ignominy of their father having been accused of betraying his country by selling government documents to the nation's enemies. It is a tale loved by generations of children. E. Nesbit's story is retold here in a new version adapted by Mike Kenny. This stage play, presented by Louth Playgoers, is directed by Philip Marshall Jr. and definitely does not disappoint. He has succeeded in keepting the flavour of the original source material and yet giving it life and breath for the twenty-first century. This production also features some specially written music by Stuart Spendlow which is highly appropriate and in keeeping with the feel of the show overall. Another creative worthy of mention is Alice Murray who as Assistant Director and Movement Director infused the piece with some beautifully dreamlike sequences and helped realise Marshall's vision for the production.
The scale and ambition of the show is clear from the moment that the wonderful set design is revealed, with an imposing railway bridge centre stage, towering over a coal yard . The suitcases of passngers whose stories we may never learn, casually dress the stage, conveying the journey we are about to go on with our cast for the evening. And what a cast! But more of that later. The set performs multiple tricks with set pieces gliding on an off, seemingly effortlessly but in reality the result of a lot of hard work. I cannot sing highly enough of the effectiveness of the set and the way it has been carefully and preceisely lit. Audiences will marvel at the way in which the set proves to be so effective, and so integral to the storytelling here.
The costumes are delightful and add to the period feel of the piece demonstrating the splendour of the, initially, affluent lifestyle enjoyed by the family prior to its slide into penury. The children's personalties seem, somehow, enhanced by the costuming, allowing them to perform with energy and vigour and the straight-laced mother resplendent in her high-necked dresses reflecting the buttoned-down attitudes of adults in Victorian England. And the top-hatted gentlemen looked marvellous too!
The casting of this play is fantastic. Several adult players play multiple roles, Charlie Dixon, Sarah Elliot, Keith Larcombe, James Laverack, and Megan Mapletoft each bring a range of characterisations that serve the story effectively and young Lucy Tandy-Moorhouse brings a wide-eyed innocence and enthusiasm every time she appears on stage. Another who plays multiple roles is Playgoers' regular, Ray Baker who manages to top and tail the story as the wrongly-accused father to the children as well as dissident, Russian author, Mr Shepansky. It is difficult to play two large roles and to differentiate them effectively, especially when one does not speak English at all, but Baker succeeds in making both likeable and driving the plot forward with each.
Andy De Renzi, brings. a warmth and kindliness to his portrayal of the Old Gentleman whom the children befriend, intially by waving to a train and then later in person. His benevolence is clear and the way in which De Renzi manages to convey kindness, empathy and tenderness makes for a lovely, understated performance, worthy of note.
In the role of the children's mother, Julia Burnett is excellent. Her worry, concern, and the way in which her character experiences mood swings caused by the shame of their situation in life and the desire not to seek charity seems genuine and driven by shame and the pride so prevalent in Victorian society. Her rapidly developing illness, perhaps brought on by the stress and worry of their lot in life, is the inciting incident that stirs the children into action.
Filling the shoes of the late and beloved national treausre, Bernard Cribbins , is Magnus Moorhouse. He give a lovely, caring and empathetic performance as Perks who runs the station at which the family arrive when escaping the shame of life in London, in an effort to shield the children from the adverse influence of the media glare. He demonstrates genuine likeability in the role and it is not difficult to see why the children develop such an affection for Perks. It is alos a pleasure seeing Moorhouse on stage with his real-life daughter Lucy.
The role of Bobbie, immortalised on film by Jenny Agutter, is performed brilliantly by Katherine Briggs who manages to bring a resolute, yet child-like optimism to the role. With a clear, crisp, vocal performance, her wonderfully "proper" behaviour, combined with a "Jolly Hockeysticks" attitude is perfectly suited. I cannot imagine a better suited performer for the role. She plays the part just on the right side of kitsch, giving it an heroic credibility in keeping with E. Nesbit's intentions.
As Peter, BenAllen gives a terrific performance. He is eager and enthusiastic with wide-eyed optimism. Peter's love of trains sees him gifted. atoy steam engine that appears and re-appears over a series of birthdays, which although broken when first gifted to him is repaired by the kindly Perks serving as a surrogate father-figure who is able toexact the very repair the children's own father had proposed prior to his unfortunate incarceration.
Finally, as the impetuous and inquisitive younger sister, Phyllis, Freya Young is wonderful. I love the spirit she brings to the role. She demonstrates a strong presence on stage, and as with her young co-stars, is ideally cast in the role. Young totally understands what she is required to bring to the role and although her role is often to question and to ask "But why?", her performance is never annoying or whiney and the chemistry the three children bring to the production is fabulous.
The charm and wit of Kenny's adaptation combined with Marshall's direction, will undoubtedly win new fans from the audiences who come to see the show at Louth's Riverhead Theatre this week. This is a winning production that deserves a large audience and will live long in the memory of those lucky enough to see it this week. Tickets can be purchased online or by calling the theatre Box Office.
Andy Evans 3 October 2022