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Barry Kirk catches the 7.30 Titfield Thunderbolt now standing in Hornchurch
LITTLE piece of old England was restored to the mantelpiece this week, as the Queen's Theatre launched into its autumn season.
The Titfield Thunderbolt started its run, all be it a little prone to the peculiarities of props developing a mind of their own, but with hilarious results.
The sound of laughter ringing round the auditorium confirmed artistic director, Bob Carlton's, belief in the project that brought almost half a century back to the stage, but with some very modern acting talent.
If you remember the film, then, apart from being older than you admit to, the nostalgia and front parlour style of entertainment should bring back that warm glow of satisfaction as ordinary folk put one over on red tape and bureaucracy.
It was in the halcyon days of Hancock's Half Hour, The Goons, Paul Temple, Journey into Space, all magically emitting from huge booming valve-ridden steam radio, and real butter on the bread taken in the parlour every Sunday or when great aunt came to visit.
Written for the stage by Philip Goulding, the original screenplay was from Ealing Studio stalwart, 'Tibby' Clarke, after he visited a friend in Wales. He apparently discovered one of the famous Beeching cuts to British Rail lines, again another memory jerker, that had seen the Talyllyn Railway running from Towyn on the coast to the village of Abergynolwyn, closed, but the villagers had taken on the powers that be, and had won the right to run it on their own.
Looking at the project on paper, the worry beads were out, but in this co-production with the Theatre Royal, Windsor, the secret of sound writing and quality acting paid dividends.
Joining the Cut to the Chase team of actor/musicians is international star, Kate O'Mara, and a more delightful lady you could not wish to meet.
From starring with Joan Collins in the US blockbuster, Dynasty, and numerous television and stage plays, Kate took on the role of landed gentry having to stand shoulder to shoulder with the villagers in the battle with British Rail. As Lady Edna Chesterford, she managed to put a human face on the dowager in the big house, and with some quick one-liners, delivered with razor sharp timing, produced a nice mix of crusty old boot with heart. Mind you, looking at the demure figure on stage I would not dare call her such, those were her words from an interview a couple of weeks ago when she emphasised thefun of being part of the team at the Billet Lane theatre.
As always, the team is the secret to success, but I have to say the very welcome return of the inimitable Paul Leonard, added that defining edge to the production.
I once wrote of him that he had the Richard Briers gift of playing numerous roles that always seemed a derivation of the man. Paul has this gift and held the stage. All he has to do is look, chuckle or scratch his nose, but he does it with authority and consummate skill. Like the others, he played a multi-role evening, from drunken benefactor Valentine, to a George Cole dodgy character, Vernon Crump, to bureaucratic nightmare, Clegg. The quality was in the way he changed characters at the drop of a hat, producing three totally different personalities in every aspect of piety, greed and inconsideration, but all like Paul Leonard. Truly amazing.
Steven Pinder's vicar, Rev Sam Weech was a tremendous characterisation of the soft-top vicar who wanted to drive a steam train. It is a tribute to his acting skills that Brookside did not even surface and in terms of sympathy, he got the popular vote for a fine performance.
The stunning Loveday Smith added another string to her bow with a tenor horn recital, but it was a mere trifle when compared to her outstanding skill as an actress.
I could not help but see a young Joyce Grenfell on stage, as Loveday provided the building blocks to the play, linking the action with jolly hockeysticks attitude and demurely fluttering her eyelids to achieve a result. In this case, convincing Phil Reed to lend the Thunderbolt, his steamroller's drive chain. Loveday uses her gift of expression to the finest point, and at times does not even have to speak.
Finally the Boss, Phil Reed. His multi-roles were stitched into the script as two of his characters were having trouble being on stage at the same time.
Phil, the master of the guitar as shown in his role of Cookie in Return to the Forbidden Planet, has a brilliant stage presence, and always gives the impression that underneath the character he is playing, lurks Dennis the Menace just waiting to burst out.
The result was a packed auditorium laughing and clapping with pleasure, and there is not a lot more you can ask of theatre.
The Titfield Thunderbolt was released as the first full colour film from the famous Ealing Studios in the early 1960s, and starred Stanley Holloway, John Gregson, Hugh Griffith and Sid James.
Looking at the simple logistics when first told of the venture some months ago, I have to admit, I thought it was going to be another Hornby Dublo 00 gauge train running round the stage as in Bob's last venture with trains, the 39 Steps. But oh no. In one form or another, you get the Full Monty, with lots of boiling froth, old railway carriages and steam train noises and finally the thunderbolt itself, ploughing its way to the buffers.
Utilising Rodney Ford's brilliant set to the full, the backdrop instantly changes to a church, the train, a carriage and a vista of England's green, and in this case, very green, and pleasant land.
The whole trip is very cleverly contrived to capture the era by turning it into a parlour full of memories. It was the time when not everything went to plan, but you got there in the end.
Even the very intelligent telegraph poles, rushing past the speeding train carriage window added to the imagery, but you will have to see the play to find out how.
The show is going on tour after this run in Hornchurch, recalling earlier days when Hornchurch produced shows travelled the country.
It is a lot of fun and a worthy addition to the archive.
The Titfield Thunderbolt runs until Saturday, September 17, with tickets from �13 to �17 available from the box office on 01708 443333.
Romford Recorder - Friday 2nd September 2005
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