3 – 12 March 2022
adapted by David Wood from the novel by Michelle Magorian
One of the most uplifting stories ever written, Michelle Magorian’s stunning Goodnight Mister Tom is brought gloriously to life in this stage adaption by David Wood – the UK’s ‘National Children’s Dramatist’ (The Times)
Set during the dark and dangerous build-up to the Second World War, Goodnight Mister Tom follows sad young William Beech, who is evacuated to the idyllic English countryside and builds a remarkable and moving friendship with the elderly recluse Tom Oakley. All seems perfect until William is devastatingly summoned by his mother back to London.
CAST
‘Mister’ Tom Oakley | Graham Jones
William Beech | Rufus von Bergen / Cameron Matthews
Zach Roach | Ollie Nebel / Aaron Walsh
David Hartridge / Charlie Ruddles | Jay Rolfe
Vicar / Mr Stelton / Dr Little / Ticket Collector | Phil Wright
George Fletcher | Dillon Patel / Jack Evans
Miss Thorne | Susie Timms
Mrs Fletcher | Kate Ashton
Miss Miller | Poppy Kell
Mrs Beech | Maria Hancock
Puppet Sammy | Lucinda Banton
Mrs Hartridge / Billeting Officer | Rachel Warren
Mrs Miller / Glad | Catherine Elliott
Nurse / Social Worker / Puppet Sammy | Lauren Cudjoe
Carrie | Sophie Perdoni / Francesca Dunn
Ginnie | Alice Keyworth / Nicole Haycock
Childrens’ Ensemble | Lizzie Kelly / Lucy Barnes / Eliza Budgen
Directed by Hannah Millsted-Bowdery
Photography by Gail Bishop
Review | March 2022 | Theo Spring
The sheer logistics of mounting this play with so many different scenes, a host of young people, adults who could double and sometimes treble up and a very interactive border collie puppet did not deter Director Hannah Millsted-Bowdery who, her notes say, knew and loved the story from her childhood. Her wisdom of setting it in the large area afforded by being in the round did away with physical scenery – leaving that to the audience to supply – but emphasised the importance of Lucina Banton’s ably-achieved role supplying props.
Set in the early stages of the Second World War, evacuees are being found homes in a small hamlet in the West Country and everyone must do their bit. Looking very much like a misalliance, long-time widower Tom Oakley is asked to take in young William Beech. Both are scarred – Tom through the early loss of his wife and baby son and William from both physical and mental abuse from his unstable mother. Their story involves compassion, fear, courage, friendship and learning, but above all, the power of love.
Slowly transforming from a grumpy recluse to coming to love William wholeheartedly, Graham Jones delivered a most believable Mister Tom who slowly came out of his closed shell which had had only room in it for his attachment to Sammy his dog. His accent didn’t quite capture the West Country burr, seeming to be more Norfolk – traditionally one of the hardest to achieve, but his growing empathy and understanding of the small boy’s trauma really shone out.
Whenever there are two children’s teams, here ‘Churchill’ and ‘Chamberlain’, I always feel for the team not reviewed. Tuesday night’s ‘Churchills’ achieved realistic portrayals with Cameron Matthews out in front as William. Acting of the highest standard in one so young grew his character from timidity and fear to his final rejoicing when adopted by Tom and his emotional line ‘Dad’ required audience tissues. The initial foes turned friends in the village included fellow evacuee Zach with Ollie Nebel creating a constantly bright character whose theatrical attributes cheered the story. Jack Evans (George Fletcher), Alice Keyworth (Ginnie) and Sophie Perdoni (Carrie) added youngsters to the village with the addition of very young ensemble children.
For many of the adults it was a quick change of costume to become a completely different character, sometimes at a dizzying speed. Susie Timms epitomised the spirit of the war as Miss Thorne who kept the village amdram group going – plays which performed such a large part in William’s renaissance and gave Zach a platform for his skills. Jay Rolfe in four roles gave much comfort as the Vicar; Rachel Warren’s gentle Mrs Hartridge contrasted sharply with her strict hospital sister in Act II; Mrs Miller ran the post office with Catherine Elliott showing concern over the lack of replies Tom received from William when he had had to go back to London and Poppy Kell was Miss Miller. Kate Ashton delivered wisdom and hand-me-downs as Mrs Fletcher and Phil Wright’s helpful and caring Dr Little reminded us of the role the family doctor used to play in real life! And finally, there was William’s mother, Mrs Beech. Maria Hancock had the most difficult and ghastly women to portray. Strict beyond reason, possibly without mental reason, jealous, manipulative and angry – so angry. A women to hate and she mastered her superbly.
With canine moves and behaviour so well observed, Lauren Cudjoe and Lucinda Banton split Act I and Act II between them as Sammy’s puppeteers, with the dog taking over and the handlers soon becoming almost invisible. Sammy was a work of art, a truly realistic creation by Louise Hynd and Sue Kennard.
Movement Directors Penny Parker and Frances Kelly get high praise for their scenes of hustle and bustle with people moving every which way, as well as the impressive scene of William’s nightmare – so well envisaged. Some of the moves were reminiscent of those speeded-up road videos where it seems cars would inevitably collide – but don’t.
The all-important wardrobe was so accurately accomplished by Berry Butler and Nigel Kemp. Everything from the right era. Did someone specially knit the rainbow tank-top for Zach I wonder – it shone out.
I trust that anyone reading this who was unable to see the show will get a feel of the production’s huge demands on both cast and backstage but mostly, of course, for the vision of Director Hannah Millsted-Bowdery and her ability to carry it out. A memorable show without a doubt.