After two summers at the National
Railway Museum in York, the production by that city’s Theatre Royal
comes to London, and to a venue with a genuine
fin-de-siècle atmosphere.
Unfortunately, it’s the wrong
siècle,
since the site is the great white elephant that is the briefly used and
now redundant Eurostar terminal at Waterloo. The auditorium and playing
area, however, are impeccably dressed to resemble York station itself a
century or so ago.
In order to watch E. Nesbit’s story of the three children and their
mother who relocate to rural Yorkshire
circa 1900 when their father is
falsely imprisoned, the audience sits on either side of one of the
actual tracks, with playing areas on either platform and a series of
trolleys brought in and out along the rails. In magnificent
coups, a genuine period locomotive
(the 1870 Stirling Single, trainspotters) and the saloon car used in
the 1970 film version also pull in. On other occasions, moving jets of
steam beneath the platform suggest the passage of the trains watched by
young Roberta, Peter and Phyllis, and indeed on press night it was hard
to tell whether a general cloudiness in the air was a deliberate
evocation of steam-age fug or a coincidental high-summer indoor
microclimate of the sort that can coalesce in such spaces.
Mike Kenny’s adaptation shows his mastery of playwriting for children
and families. Like Nesbit, he does not talk down to youngsters. He
delineates the central trio well, without over-emphasising their age
differences: Sarah Quintrell’s Roberta is the most responsible by
nature, not because she is the eldest, and the lioness’s share of laugh
lines given to (and fully merited by) Louisa Clein as Phyllis are
neither infantile nor winsome. Kenny and director Damian Cruden deal
beautifully with Nesbit’s Fabian values, which here emerge simply as
matters of decency and dutiful kindness; they also make explicit the
dimension of the unspoken, as the family avoid talking about what has
happened to their father but constantly feel its weight. Marshall
Lancaster, already an endearing presence from BBC-TV’s
Life On Mars and
Ashes To Ashes, ably succeeds
Bernard Cribbins, his celluloid predecessor in the role of railway
porter Bert Perks. Throughout the evening, adults and children alike
are enthralled by the clever mix of imagination and reality.
Written for the Financial
Times.