"They were not railway children to begin with." So begins one of the most-beloved children's novels of all time, The Railway Children, by author E Nesbit.
The same statement cannot be said of the author of this review, who has always been a 'railway child' - at least in the sense of growing up engrossed in the lives of the Waterbury family, be it the book, the iconic 1970 film that made Jenny Agutter a household name as the Bobbie (rather than the BBC series two years earlier), and the not-as-iconic but acceptable 2000 remake.
With such pedigree, it must surely be a daunting prospect for any director to take on - not least a 21-year-old making his directorial debut for Helston Theatre Company's stage version.
Just let that sink in. The vision behind this (quite brilliant) production is Harry Charleston, who not only is taking on a classic for his first time in the director's chair but is doing so at an age where, if we were in the US, he'd only just be able to toast his success with something stronger than a Pepsi.
Mind you, Harry's always gone big on his debuts - his first ever time on stage with Helston Theatre Company was in their 2013 production of Oliver! and naturally he scooped the title role.
Sadly I didn't get to experience that debut, but when people look back on the career of 'famous theatre director Harry Charleston' in years to come, I will at least have the privilege of being able to say "I was there the start!"
That's not all the 'firsts' for this show either. It also sees a new partnership between the theatre company and Helston Railway - which, given the production's cental theme, is a match made in steam train heaven.
From the moment you step foot on the platform at Prospidnick audience members are transported back to Edwardian Cornwall, with a greeting from actors in period costume before a ten-minute steam train ride to Truthall Halt.
Those who board the first of two trains of the evening then get to enjoy a village-fête style collection of activities including a coconut shy, hook-a-duck, hoopla and even fortune telling from the great 'Madame Rosa', who bears a quite uncanny resemblance to Gillian Geer. Passengers on the second train are treated to the same activities after the show, while they wait for their return trip.
Adding to the vintage festivities is accordian playing from Millie Millington (who also composed an original score for the production's incidental music and Bobbie's birthday song).
The fete felt like an event in itself, before the show had even begun, with each of the games manned by a cast member or theatre volunteer in full character and costume. (Plaudits here to costume design and co-ordinator Bethany Goodman, who also plays Mrs Perks AND is pre-show lead; if that means leading on the vintage fete then take a sweet from the basket Bethany!)
Anyone who knows the book will be aware of how much content there is to fit into a two-hour show. This stage adaptation by Mike Kenny cleverly uses the characters to semi-narrate the story while still acting out the main plot points, in order to steam through (geddit) the action.
Trying to re-create the performance of national treasure Jenny Agutter (who actually recorded a special video message for the theatre company wishing them luck and expressing regret she was unable to attend) is an almost impossible task. Instead Hollie Davis makes Bobbie her own, bringing a little more modern-day feistiness while still portraying the gentle coming of age of the character.
Fraser Oliver as Peter (also making his debut for the company) revels in bringing the annoying brother and middle child role to life, while Grace Benney (already a veteran of the theatre company, despite her age) brings wonderful light-relief as the youngest of the three children, Phyllis.
This production brings more humour to the story than the films, with plenty of laugh-out-loud moments that fall just the right side of joviality without falling into pantomime territory.
That's not to say there aren't plenty of emotional moments too, and - without giving anything away to those who don't know the story (and if that's you, you simply must go and read the book) - when it comes to THAT line at the end I confess to once again shedding a small tear. If that's not a sign of holding its own against the original I don't know what is.
The whole cast should be commended, but other stand-out performances come from Mike Hosking as the prone-to-be-prickly but ultimately kind-hearted station porter Albert Perks, and Kieran Faithfull showing his versatility as both the ailing Russian Mr Szezcpansky and injured trail runner Jim.
Both bring great energy to their respective roles and the stage is an extra engaging place with them on it.
Special mention also to Bryony James who brings a fully rounded and professional performance as Mother, and Carrie Sterry as the hilariously grumpy (and not on stage nearly enough) cook.
A final word must go to the staging. A marquee in the middle of a field would have undoubtedly presented some challenges, but these are overcome by a set featuring the station platform that plays such a central role in the action, letting the audience use their imagination for the other locations (occasionally encouraged by the characters breaking the fourth wall). It works well.
Those of us watching are helped by many clever little tricks - dimmed lighting and an echo added when the children are in the tunnel, up-turned suitcases doubling as furniture, and more smoke-machine 'steam' than a 90s Take That concert.
It's an all-round thoroughly enjoyable affair and if you're quick you might be lucky enough to grab one of the last remaining tickets.
Performances continue with a matinee show this afternon (Saturday) from 12pm, an evening show for which the first train leaves at 6.10pm this evening, and conclude with a matinee showing on Sunday.
Advance booking is essential from helstontheatrecompany.co.uk
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