The Railway Children opens with a striking and confident stage picture that sets the tone for the entire evening – the full cast holds a frieze of stillness before erupting into a flurry of motion, instantly conjuring the bustle of a small-town railway. It is a bold and beautifully judged opening demonstrating the vision of director of Sean Baker. The sequence announces that this production is aiming high, and much of what follows confirms that ambition.
The staging, under set designer Sarah Deboys is whimsically triumphant. Deboys creates a rotating platform that shifts seamlessly between the family home and the station platform. The arched steps leading to the embankment are used to their fullest by the cast who traverse the steps, delivering dialogue with natural fluidity. Deboys also makes clever use of falling backdrops, which drop in sections to suggest the collapse of an embankment. It is simple, intelligent design that earns its impact. The combination of Baker, Deboys and a cast with excellent chemistry set the show up for success from the very start.
Musically and technically, the production enjoys impressive support. Under the musical direction of Victoria Grebe, the soundscape feels cohesive, guiding the audience through moments of tension and tenderness. Lighting designer Mark Easterfield and sound designer Paul Malpas deliver two thrilling sequences of peril where sharp lighting cues and layered sound effects come together with precision. I am genuinely gripped in a way far beyond what one typically expects in an amateur production. Special mention must be made to the period costumes and lovely props – a trio of battered suitcases double, as is the norm, for furniture with minimalist aplomb.
The tone throughout is warm, nostalgic, and sincere. Adult actors playing children is a device that can easily slip into parody, but here it becomes the beating heart of the show. Penelope Saunders is a standout as Bobby, capturing the character’s indignant loyalty and burgeoning maturity. She handles both humour and emotional weight with assurance. Liddy Pinner brings a wonderfully fresh comic instinct to Phyllis, charming the audience at every turn, while Rachel Lawrence infuses Peter with a mischievous but genuinely earnest presence. Together, they form a trio of siblings who carry the story with authenticity and affection. The script is helped beautifully by the limited but very funny fourth-wall breaking by the cast who join in the humour with the audience. It is here that Pinner shines, endearing herself marvelously to the audience.
Their performances are grounded by Sam Billing as the mother; a portrayal that begins in anxious fretting and blossoms into composed strength. Martin Hunt’s Mr Perks offers another highlight. Hunt avoids cynicism entirely and instead creates a warm, working-class pride that makes Perks feel instantly recognisable and deeply likable.
The ensemble’s work is lively and well-paced. Choreographed movement sequences give the production a pulse of energy, even if occasional echoes or prop noise briefly interrupt the dialogue. The use of child actors in several scenes adds unpredictability and charm, enriching the crowd moments without ever compromising the storytelling. It is a testament to the whole team that the audience can see that the child performers (the youngest of which is seven) are having a genuinely good time on stage.
This is a heartfelt, inventive, thoroughly enjoyable four-star production, and one of the best family shows of the year. In the foyer afterwards I can hear adults and children praising every aspect of this wonderful production.
Photos credit: Paul Ashley photography
