Ghost Train @ Darlington Civic

Written in 1923 by Dad’s Army regular Arnold Ridley, this talking Scarlet production brings to the stage a wonderful glimpse into yesteryear which, through the clever setting and brilliant acting, never feels dated or twee – it is a perfect pastiche of 1920’s Britain with a cross section of society placed into a very natural situation with very supernatural undertones .  Over the years The Ghost Train has been billed as a horror, thriller, crime, tragi-comedy and even forerunner to the Scooby Doo style method of final twist, but I like to think of it as a perfectly timeless piece of storytelling – it would be equally at home being told round a camp fire as it is in a theatre (or even on film as the 1941 Arthur Askey version).

When a group of mismatched train passengers are stranded at a rural station overnight, they soon hear of a sinister local legend telling of a ghostly train that passes through the area, ever since a terrible accident 43 years ago. Anyone who happens to gaze upon the train will face death and disaster. When the station master is suddenly found murdered, and when a disturbed young girl arrives from the local mental hospital, the 6 passengers are thrown into further panic when they hear the roar of the approaching ghost train...

Talking Scarlet productions never fail to bring together brilliant casting which perfectly fit into the roles, enhancing the story with chemistry and believably and suspending the ‘where have I seen them before’.  Led by the irrepressible Jeffrey Holland as Saul, the station master, the strength on stage and the ease in which each actor immerses themselves into their role means there is little need to take the audience through character identification.   Instead we can get straight into the story. 

The ever-perfect Corrinne Wicks and Ben Roddy play Elsie and Richard Winthrop; a 2^nd time married couple who have hit a rough patch.  Elsie strives to convince everyone, but mostly herself, that she is still a strong and independent woman, despite Richard being a very dominant, yet caring, husband.  Corrine plays these parts with such integrity (she was previously at Darlington in The Holly & The Ivy in a similar role) and, despite her obvious successes in Emmerdale and Doctors, it is on the stage that you can truly appreciate her craft and skills (not to mention her beauty).

Newly wed young love birds Charles (Chris Sheridan) and Peggy (Sophie Powles) Murdock are desperately trying to get to Truro for their first night as a married couple so the inconvenience of this enforced stopover is much felt by both, though for slightly different reasons.  Always aware of his duty as new husband, Charles wants to lead, to challenge, to seek out the truth but still falls back to put a protective arm round the shoulders of his blushing bride.  For this, Sheridan is brilliant – torn between the machismo of youth and yet emulating Richard’s more mature approach to husbandry, he portrays the turmoil of now having another to protect perfectly.

Despite the aforementioned couples providing most of the action, it is Tom Butcher, as Teddie Deakin, who is the linchpin.  Previously seen here playing the twins in talking Scarlet’s Double Death (and giving the best performance of the year), Butcher gives another masterclass in character acting – this time as a foppish, hooray Henry who seemingly takes everything with a pinch of childish wonder and never appears to grasp the gravity of the situation.  He is very reminiscent of Michael Palin in some of his Monty Python roles, but even more so of Palins cameos in Terry Gilliam’s Time Bandits.  Of course, with every good thriller, things are never quite what they seem and Teddie proves that you should never judge a book by its cover.

As the story is set in the 1920’s there are some cultural references, and indeed the crux of the reveal, which are dated, though not out-dated.  You need to allow yourself to step back into this time to fully appreciate the writing but I believe that the best ghost and thriller stories are set in the early part of the 20^th century – the world was breaking free from a class driven society giving rise to both legit and somewhat dubious entrepreneurial endeavours.

Backed by great performances throughout, a large degree of humour (not comedy) and a claustrophobic set, the story rattles along like the titular mode of transport and yet time itself seems to pass immeasurably slow with the whole tale covering less than 2 hours – it is this cleverness in the writing that helps to build the tension towards the climax.  Sadly, if there was one disappointment for me then it was the final ‘reveal’ – more Scooby Doo than Edgar Allen Poe but maybe that’s just my macabre side crying out.

The Ghost Train is coming to the end of the current line after its stop in Darlington but there’s still time to grab a seat and be thoroughly entertained. Or if you can’t make this train, then why not get tickets for Darlington Civic’s next thriller – Sherlock Holmes and the Ripper Murders which starts on July 7^th.

Double Death @ Darlington Civic

A double helping of suspense, intrigue and murder

Identical twins have always held a fascination for me; how much of one twin went to make up the other, how identical are they, what of the oft-spoken special bond they are supposed to have? Simon Williams taps into all of that and creates a brilliant murder mystery play which feels like multiple games of Cluedo being played at the same time on the same board.

Max and Ash Hennessy are the aforementioned twins, but these are not loving siblings who enjoy sharing their identical-ness. There is a deep seated loathing in both of them, no doubt borne initially from years of competitive rivalry but honed to total despising by a terrible ‘accident’ which left Ash in a wheelchair. This accident, whilst they were both rock climbing, was to many, an attempt by Max to rid himself of his perpetual shadow and as such he is now the subject of a court order forbidding him from making any contact with his unfortunate brother. Yet both brothers know that one of them is about to die, just which one and how is still open to debate.

Back story set, we are transported to the family home in remote Cornwall on a dire and stormy night, the eve of the twins’ birthday. Max has ignored the courts and made his way home in time to ‘welcome’ his brother who has just been released from hospital and into the care of his Aunt Lalla and his home nurse, Jess.

Max, it appears, has much more on his mind than simply sharing cake and candles and so starts a story of thrust and counterthrust which plays on the twins’ childhood games of “can you guess which one is which”. The plot is deliciously twisted, the use of only one actor to play both twins made totally believable by some inspired direction and the set, cleverly adorned by the Cluedo murder weapons, makes for a very claustrophobic stormy south coast retreat.

The cast, of which there are only 4, have great fun with their roles; Judy Buxton as Aunt Lalla delights in blending Shakespeare quotes with a rather impatient use of ‘real language’, Kim Tiddy as Nurse Jess manages to stay coldly indifferent to both Ash and Max for as long as possible before dropping the façade and showing her true self. Brian Capron as Detective Fergus avoids playing the bumbling Columbo styled mac wearing cop and stuck resolutely to the country DI . Tom Butcher as the twins was superb; undoubtedly he is assisted by the props and costume dept to ensure that he can remember who he is and when, but he keeps the two brothers identifiably different while still maintaining their monozygotic similarities. The twists and turns of the story give great scope for exploring the inner drivers of both brothers and Butcher doesn’t waste a moment.

For a Monday night, it was a little disappointing to see the stalls only half full, such a shame for a brilliantly funny & entertaining play which would knock spots off any TV drivel being served up at the moment. 

Importance of Being Earnest 2013 @ Darlington Civic

A wonderfully witty and erudite play from the master of clever words

Set over 3 acts, The Importance of Being Earnest avoids delving into serious social and political issues and instead focuses on the light hearted shenanigans of two London based gents who enjoy living double lives, free to create alter-personas through which they can enact their fantasies safe in the knowledge that they can, at any time, 'kill off' their doppelgangers and revert back to their true characters.  The story however has twists aplenty, coupled with the juxtaposition of both leads wanting to assume an 'Earnest' character to capture the affections of their betrothed but realising that neither is very earnest at all.

We are introduced to John Worthing, who takes the name Earnest for his alter-ego, and learn that he is an abandoned orphan, left in a hand bag in Victoria station.  It is perhaps because of this that he enjoys the anonymity derived from having a London city character and a Hertfordshire country role and 'ne'er the twain shall meet' - that is until he becomes besotted by Gwenoldine and has to wrestle with her affections for 'Earnest' and his desire to tell her the truth.

Enter Algernon, John's best friend, who too enjoys a certain degree of freedom with his personalities.  He learns that John has a pretty ward, Cecily, ensconced in his country house and decides that he must go visit her.  Cecily believes that John is her Uncle Jack and that 'Earnest' is indeed Jacks brother - this is the rouse which John uses to effect his weekend trips to London however for Algernon to pull off his deception he too must become Earnest - confused ?  don't be, all is quite simple as it unfolds.

The play itself leans close to farce at times but always manages, through very clever words and cutting observations, to wrest away from total slapstick and retain the parlance of typical Wildean satire.

As always, The Middle Ground Theatre Company provide stunning set design and a brilliant cast.  While Corrine Wicks and Tom Butcher take lead billing, the whole ensemble deliver masterful portrayals of their characters, firmly held in their social pigeon holes but quite recognisable in today's society.   Lest we not forget it was they who brought us The Holly & The Ivy and On Golden Pond and if you were fortunate to see either or both of those productions then you will certainly enjoy their latest.