Tolethorpe

  • I am delighted to be working with Tolethorpe for the 2027 season, directing their production of The Railway Children. It is likely I’ll be an unknown name to many members and so I thought this would be a great way to introduce myself and give you a little bit of insight into my plans for the show…

  • ABOUT ME

    I’ve been a professional theatre producer, director, actor and puppeteer since 2005, working on over 125 productions in that time. I trained in musical theatre and specialise in family entertainment.

    As an actor and puppeteer, I’ve worked in many theatres up and down the country with either my own productions, pantomimes or as Zippy from TV classic ‘Rainbow’. I’ve done TV work too but it’s been very random – a few ads as Zippy, eating Jimmy Carr as the man-eating plant Audrey II on ‘8 Out of 10 Cats Does Countdown’ and if you can track them down, I’m on 3 episodes of ‘Dragons Den’. I am also a theatre technician, set builder, puppet maker, videographer and most recently, Venue Manager at Stamford Arts Centre. My wife and I also own Stamford’s Welland School of Dancing which I attended from the age of 3 until 2005.

    I’ve produced and directed shows both for my own company and for others – one of my favourite productions ever has to be my pro tour of ‘The Railway Children’ back in 2016. I had no idea how much that show would impact both myself and audiences, it is easily the production I’ve had the most feedback about ever (positive of course!). I no longer tour but have been waiting patiently for the opportunity to work on the show again, so imagine my delight when I heard it was chosen for the Tolethorpe 2027 Season!

    This isn’t my first involvement with Tolethorpe, I was a member of TYD in the early days with Carol King and therefore was part of some of her productions over 20 years ago. I’m excited to return to direct this production and am grateful to the board for their support with my vision.

    That’s enough about me, onto the show!

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  • THE PRODUCTION

    If you are not familiar with the story of The Railway Children, you can find a brief summary of the plot and footage of the original productions at the bottom of the page or by clicking here.

    For my 2016 production, I had secured the rights to revise a musical version of the story – this will be the first time I have worked on a play version since I covered as Peter for the day on a production in 2008! The version I’ll be directing was written by award winning playwright, Mike Kenny, for a production at York Railway Museum which then transferred to Waterloo Station and later Kings Cross. I saw the production at both London Stations and it really is wonderful.

    The entire production is a memory, told by the now grown up children. They retell their story and regress into their younger selves to do so. Through this, we see that nothing has ever really changed in their relationship or their general mannerisms and behaviours. Some of the cast multirole in this production – every character is important and contributes in their own way, so every actor taking part will find it a rewarding show to be a part of.

    All cast will be 18+. There are 5 female and 6 male roles.

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  • THE CASTING

    Roberta (Bobbie) (f) – the eldest. She’s already fairly mature, but a move to a very different life in the country with no idea what has happened to her father makes her grow up even faster.

    Peter (m) – the middle child. Peter likes to think he’s grown up but has a way to go. He and his younger sister often squabble and his attempts to be ‘man of the house’ often get him in trouble.

    Phyllis (f) – the youngest. Despite this being a grown up Phylis recounting her youth, she’s very much the same as she always has been. She has plenty of comedic moments but is very much part of the drama too.

    Mother (f) – a complex character and a strong role model. Her world is torn apart right at the top of the show, yet she is strong and doing her best for the children. There is some skill in portraying all of the emotions and subtleties of her story for the audience whilst hiding them from the children given that the production is narrated from their perspective.

    Agent/Perks (m) – the Station Porter. A jovial fellow with an important job to do. He is friendly and likeable, providing some comedy relief throughout. The agent role is at the top of the show – one of the two gentlemen who comes to take their father away.

    Agent/The Old Gentleman (m) – a very key character! He helps the children through their difficulties, including reuniting them with their father. It’s a well rounded role that will be loved by audiences even more through each act of kindness. The agent role is at the top of the show – the other of the two gentlemen who comes to take their father away.

    Jim (m) – the Old Gentleman’s Grandson. The children discover him injured in a railway tunnel and they, along with their mother, help to nurse him back to health. Meeting him is likely when Bobbie realises she has grown a little more than she realised due to the feelings between them. They don’t have a love story per say but he is the first person her own age she really comes across in their new home.

    Cook/Mrs Viney (f) – Cook is mean and unliked by the children, although the feeling was mutual. She is the recipient of a prank from Peter in which a bucket of water is poured over her head. Mrs Viney on the other hand is an Oakworth local who helps to support the family in their new life.

    Maid/Mrs Perks (f) – Maid is a cause of confusion in the household as the children don’t understand what a between maid actually does. Mrs Perks is married to everyone’s favourite station porter and has a wonderfully memorable scene with the children.

    Father/Doctor (m) – Father is taken from his home at the top of the show, accused of selling state secrets. We do not see him again (spoiler alert) until the end when he is reunited with Bobbie on the platform in the most iconic moment. Between those events, he doubles as the Doctor who appears various times throughout the show. He’s a likeable, professional man who has everyone’s best interests at heart. There is a lovely running gag about his payment plans that audiences will really enjoy.

    Butler/Szezcpansky/District Superintendent (m) – following an appearance of the butler, this role doubles with Szezcpansky – a Russian man who has lost his ticket and accidentally ends up in Oakworth. He is a great writer who wrote a book about how to help the poor for which he was imprisoned. After managing to escape, he is trying to reunite with his wife and child who are here in England. The family help nurse him to health and recruit the Old Gentleman to help find his family. This is a really key character as it mirrors the families own situation. The District Superintendent appears in one scene with comedic effect. Please note, Szezcpansky speaks both French and Russian which must be convincing.

    Except those playing the three children and Mother, all actors must be prepared to play multiple roles. Most of the doubling is outlined above but there are further character appearances such as the paper chase boys and railway workers which would be assigned once the show is cast.

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  • WHAT AM I LOOKING FOR IN THE AUDITIONS?

    This is family theatre and so I am looking for big, expressive characters. I am especially looking for people who can make the text interesting to ensure an audience hangs off their every word.

    That said, the emphasis is on family theatre rather than children’s. The show is designed to be entertaining for a really wide age range and not specifically targeted at younger audience members – so whilst I’m looking for energy and expressiveness, there is still a truth. The entire story needs to be believable and well balanced to ensure we can switch between light hearted comedy and tear jerking drama.

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  • THE DESIGN

    The show is set in the Edwardian era. It journeys from London to Oakworth but as it is a memory unfolding, the production actually takes place entirely on the platform of the station.

    It is a slick show with no time for scene changes and so all settings and furniture are represented by items found on the station platform – cases, trunks, crates, tea chests, etc.

    Hidden in all of this luggage are all the props for the show and scene changes are smoothly done by the cast on stage. The villagers of Oakworth often swoop in and out to show a passing of time and reveal timestamps that help to keep younger audience members in the loop with where we are. For example, Mr Perks may move a case only for it to fall open and the belongings fall out – printed inside would be the location and date. Likewise, Mrs Viney could be hanging up the washing and printed on a sheet is the location and date of the scene. These handy hints will not only help the audience keep track, but will keep people looking for smaller details within the production.

    You will see from the concept above that there is a railway track running diagonally across the stage. For when a larger change is required, there will be a simple truck that can come in and out on this track carrying those larger items or taking them away. Of course, let’s not forget that there will be a full size train!

    There are lots of other tricks and effects I am currently exploring to make this show really special but I’ll keep those quiet just now.

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  • THE PROCESS

    So what can you expect from me as a director? I’ll be honest, this is the first time I have directed amateur theatre in a very long time. I am used to an intense rehearsal period of one week and working on multiple productions at once. Therefore, I’m really excited to have the time to work and develop a show. I have a really clear vision for the production and part of that comes from what has really worked for me in the 2016 pro tour, but I want to take those aspects and create a brand new production that is tailored to the cast performing it and the venue.

    I think I’m pretty good at getting the best out of people and have worked with quite the range – I’ve directed pop stars, soap stars, children and animals. My favourite celeb to direct (and probably the easiest) was Pudsey the dancing dog from Britain’s Got Talent! It’s extremely important to me that a production is fun to be a part of and I always cast a team rather than individual characters. It is always clear to an audience when performers love being part of a show and absolutely enhances everyone’s experience.

    In the rehearsal room, I’m sure I’m not the only director who can’t really work with scripts in hands. Therefore, the schedule will be planned in a way that blocks through the show in a timely fashion so that everyone can get it learnt. We would then work back through in more detail, developing characters and fine tuning for a really slick production. My rehearsal room is also a safe and supportive space where we can explore, experiment and develop through our mistakes.

    You would start rehearsals with all music and SFX in place so that we can work with them from day one. This will get transitions really tight but also allow underscores and soundscapes to help develop scenes. As a technician, it’s really important to me that everything works as one and having all this in place from day one will cement everything together really well.

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  • THE SCHEDULE

    At present, the rehearsal and performance schedules are TBC. However, I can let you know now the dates that we wouldn’t be rehearsing as I will be working on other productions:

    19-28 Dec I produce, direct and perform in the pro pantomime at Stamford Arts Centre during this time. A full cast read through would take place ahead of these dates for us all to get to know each other.

    28 Feb-6 March I shall be in my tech position for our dance school shows during this time.

    4-19 April I will be in Scotland giving my Queen of Hearts for my Easter Panto adaptation of Alice in Wonderland in Airdrie.

    ANY QUESTIONS?

    If there is anything further you would like to know about the production, please do let me know using the contact form below.

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  • STORY SYNOPSIS

    Roberta (Bobbie), Peter and Phyllis live with their Mother and Father in London. One evening, two gentleman knock on the door to arrest their father, works at the Foreign Office, on suspicion of being a spy.

    Mother is forced to dismiss their servants and move with the children to a house called Three Chimneys in Yorkshire, near to Oakworth railway station. When they arrive, they find the house in a mess and rat-infested. The three children find amusement in watching the trains on the nearby railway line and waving to the passengers. They become friends with Albert Perks, the station porter, and with an elderly gentleman who regularly takes the 9:15 train.

    To make ends meet, their mother works as a writer and home-schools the children. When she sadly falls ill, the children write to ‘the old gentleman’, who delivers food and medicine to the house to help their mother recover. 

    The following day, a man collapses at the railway station. He speaks a language no one understands, but the children discover he also speaks French, in which their mother is fluent. She learns from him that he is an exiled Russian writer who has arrived in England in search of his family, who have fled there. While he stays at their house, Bobbie writes another letter to the old gentleman, and with his help the family is soon found.

    One day, the children witness a landslide which has partially obstructed the tracks. The girls fashion their red petticoats into flags to warn the driver of the impending danger and the train stops in time. The railway company and villagers hold a party for the children, and they are given personalised engraved watches. 

    Discovering that Mr Perks does not celebrate his birthday, the children secretly ask for gifts from the villagers that he has helped in the past and deliver them to his house. Mr Perks initially refuses the gifts as he does not accept charity. However, after the children explain the true circumstances, he thanks them for their kindness. In return, the following day, he delivers old newspapers and magazines for them to read. There, Bobbie notices a story about their father being imprisoned. She discusses this with her mother, who finally discloses that he has been falsely convicted of being a spy and selling state secrets. Bobbie again contacts the gentleman and asks him to help; he informs her that since meeting them and reading about the case, he has been convinced of their father’s innocence.

    Later a group of youths are engaged in a paper chase, which the children observe, and one boy injures his leg in a railway tunnel. Helped by the children, he is taken to their house to recuperate from his injuries. The old gentleman visits their home and reveals that the boy is his grandson, Jim, and thanks the family for looking after him. Jim and Bobbie grow close during his recuperation and promise to write to each other when he goes home.

    After Jim leaves, the children remark on their long absence from waving at the train passengers and resolve to go to the railway the following morning. When they do so, all the passengers wave at them. Bobbie walks down to the station, where Perks hints that something special has happened. Confused, Bobbie stands on the platform, where in the lingering smoke she sees her father, who has just alighted after being exonerated and released from prison. She runs to greet him shouting “Daddy; my Daddy!”.

    THE ORIGINAL PRODUCTION

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