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Show: The Ghost Train
Society: Questors, The
Venue: The Questors Theatre
Credits: Arnold Ridley
Type: Sardines
Author: Frank Kaye
Performance Date: 12/11/2021
The Ghost Train
Frank Kaye | 14 Nov 2021 17:13pm
This was a perfectly executed play – “we present it to you today exactly as the script would have us do” – demonstrating that brilliant writing, acting, and direction are timeless. This was the first night and you can tell from the expressions on the faces of this amazing cast as they take their bow that they are delighted.
The Ghost Train is far and away the most successful of Arnold Ridley’s plays. It was written in 1923 and maintains a momentum from start to finish. I can say with deep conviction that this momentum can only be achieved with an excellent cast and director. It was clear at both the beginning and end of the play that the director knew exactly what he was trying to achieve. The departing train sets the scene and throughout the play sudden noises jolt the audience and it happens again right at the end – but it just heralds the joyous walkdown!
The director, Simon Rudkin, is to be congratulated on a perfect rendition of what Ridley intended, charm, terror, and humour, set in a cold, grey atmosphere in a station in the middle of nowhere. This effect is achieved in the first few pages with the attitude of the two couples played by Richard Graylin and Caroline Ash, Tony Sears and Tilly Benson-Reid, and the old spinster, Anne Neville, to their predicament. The stationmaster, Saul, played by John Dobson after a slightly hesitant start, gives a brilliant rendition of why they should leave this god-forsaken place despite it being a five mile walk to the nearest civilisation.
The piquancy of the opening two acts of the play is achieved by the character of Teddy, played by John Martineau. He enters with the phrase, “I say, what a topping little crib!” and maintains an irreverent sense of fun throughout the terrors that ensue. He pokes his head through the ticket hatch to make some inappropriate remarks which in turn adds to the fear generated by the crashing of the hatch later.
Each of the first two acts ends with a shock which the director manages brilliantly. The tension of the play is achieved through the constant sounds and imagery emanating from behind the set. The two windows and a door provide the frame for various effects for which the lighting and sound designers, Andrew Whadcoat and Emerson Bramwell, deserve particular mention.
The play shifts gear in the second act as Miss Bourne, the old spinster drinks herself to near oblivion and Fionna Gough, as the uptight Julia arrives, soon followed by James Burgess and Francis Lloyd as the somewhat flashy and mysterious, Price and Stirling. Fionna Gough maintains a tension for most of the rest of the play as she insists that everyone must leave in a frantic but effective manner.
It would be inappropriate to describe the rest of the play as there are a number of twists and turns that build up to the conclusion. That said it is important to note that the script makes some quite sudden shifts that the director and cast need to be very careful to achieve the right affect. This they do brilliantly, and they turn what could be a rather contrived ending into a tour de force. Special mention must be made of the performance of Fionna Gough in this regard.
Each of the actors deserve a special mention as they all contributed to a well-balanced and effective performance. Richard and Caroline achieve a clever transition of the relationship of their two characters and Richard especially provides a very helpful commentary on proceedings as they evolve. Meanwhile Tony and Tilly manage to provide a very important commentary on the action with Tony providing some critical sharp glances at crucial moments.
Ben Martineau is brilliant in a role which requires some quite clever character acting. The two late entrants, Andrew and Emerson deserve a mention as they provide the context for a shift of gear which works really well. The two small parts performed by Nigel Lawrence and Tom Mastin-Lee are excellent and appropriately unobtrusive.
Altogether this was a superb production and as this was only the first night, I expect there will be some fireworks as the run progresses.
AmateurEalingFrank KayeLondonNon-professionalQuestorsTheatre