The Girl On The Train
Theatre Royal Nottingham
January 21st 2025

Not having read Paula Hawkins’ book or seen the film, I came to this with no preconceptions and no trepidation that a play of less than two hours would miss too much out. If it does, this adaptation by Rachel Wagstaff and Duncan Abel certainly remains a gripping psychological drama and thrilling mystery, one that benefits from inspired staging and the immediacy of live theatre.

The protagonist, Rachel Watson, is annoyingly self centred, drunk most of the time and obsessed with her former husband and his new wife and baby. Passing by where they live on her daily commute, she also becomes obsessed with their near neighbours, a seemingly devoted couple who appear to have the perfect life. When the train stops at signals she watches them and fantasises – until the woman goes missing and Rachel finds herself as a witness and even a suspect, in a dark and intriguing mystery.

Giovanna Fletcher pitches her delivery high, so Rachel is bordering on manic, but frantically trying to hide her drunkenness and make sense of fragments of memory. It’s only later, when we hear the sober Rachel that the contrast becomes clear and we understand quite how broken she was and why. Throughout Giovanna convincingly portrays Rachel’s struggle not only to remember, but to find a way through the mystery, to learn who she can trust and begin to understand herself.

This is a strong ensemble piece and the fragmented style of the drama means that each character gets a strong voice. It isn’t naturalistic, the story is told using flashback and often when a character is mentioned they appear on stage to relate what happened to them; we are taken backwards and forwards in time. It’s like dipping into the pages of the book, or watching a snippet from the film. Apart from the victim, each character is a suspect and we’re invited to listen to their story, evaluate their honesty and draw some conclusions – just what we want from a crime mystery!

Jason Merrells plays Tom, Rachels’ former husband, a reasonable chap who despairs of his ex wife’s behaviour and just wants to be left in peace with his new wife and baby. Plenty of room for character development here, and we get that in spades. Zena Carswell plays his new wife Anna, bit of a prickly sort, who is implicated by Rachel in the mystery disappearance. Other suspects are the seemingly charming therapist Dr Abdic, played by Daniel Burke, and Scott Hipwell, volatile husband of the missing woman, played by Samuel Collings. But is Rachel a reliable witness and are her recollections accurate? The wise DI Gaskill, played by Paul McEwan doesn’t think so, but until the explosive conclusion he is not sure who to believe and neither are we. Megan, the missing woman played by Natalie Dunne, gets to tell her tragic story in vivid flashback. Some lovely, nuanced character acting from all the cast.

An odd and dangerous decision by Rachel brings about the denouement which is fabulously dramatic and vividly portrayed, gasps all round. No laughter here – throughout the play there are some witticisms and a fair bit of swearing, which some in the audience found very funny. The ending silenced them.

The dramatic impact of the piece is immeasurably heightened by the staging and the stunning audio visual effects. A seemingly solid wall evaporates to reveal a space beyond, one in which a lighted box frames further scenes. The combination of vivid projections and overwhelming sound takes us on to Rachel’s train, stylised movement sees the jostle of her drunken commute. Back in in her bedsit we see the car park beyond through streaming rain, in Megan’s apartment we see her imposing art work; we barely register yet are affected by the sinister background sounds. During a crisis Rachel is seen literally in turmoil, inside the lighted box. A sensory experience that only theatre can offer.

The Girl On The Train, directed by Loveday Ingram,

 

Blood Brothers – National Tour 2024/25
Derby Theatre – 14th January 2025

Willy Russell’s much-loved musical Blood Brothers continues its highly acclaimed UK tour, this time taking centre stage at Derby Theatre. This production tells the heartbreaking story of Mickey and Eddie—twin brothers separated at birth and raised in vastly different worlds, only to have their lives tragically collide.

Set in Liverpool from the 1960s through to the 1980s, the story explores themes of class divide, fate, and superstition, painting a vivid picture of how society shapes individual lives. Mickey grows up in poverty, facing hardship at every turn, while Eddie’s privileged upbringing offers him a life of ease. Russell skilfully weaves humour with sharp social commentary, using the twins’ contrasting lives to examine the tension between nature and nurture. Decades after its debut, the story remains as relevant and impactful as ever, and this tour captures its timeless power beautifully.

The cast is outstanding, delivering heartfelt and deeply moving performances. Sean Jones as Mickey brilliantly portrays the character’s transformation from a cheeky, carefree boy to a broken and desperate man. His performance is, as always, brilliant. Joe Sleight brings charm and warmth to the role of Eddie, creating a poignant contrast to Mickey’s struggles. Together, they are compelling, driving home the tragedy at the heart of the story.

Vivienne Carlyle’s portrayal of Mrs Johnstone is the emotional core of the production. She exudes warmth, strength, and heartbreak, perfectly capturing the pain of a mother forced to make an impossible choice. Her singing is packed with passion and sincerity.

Sean Keany as the Narrator is a haunting presence throughout, embodying the story’s themes of fate and inevitability. His ominous delivery keeps the tension alive, leading the audience towards the play’s powerful and heart-stopping finale.

Gemma Brodrick shines as Linda, effortlessly moving between moments of humour and heartbreak. Her role in the brothers’ lives is pivotal, and she portrays it with skill and emotional depth, transitioning convincingly from a carefree schoolgirl to a wife and mother.

Sarah Jane Buckley and Tim Churchill, as Mrs Lyons and Mr Lyons, are long-time staples of this production, and their performances are as strong as ever. Sarah Jane brings passion and complexity to Mrs Lyons, making her a central figure in the unfolding drama, while Tim’s Mr Lyons is understated yet effective. Tim also serves as the show’s resident director.

Another highlight is how the ensemble cast seamlessly take on multiple roles, adding richness and versatility to the production. James Ledsham (Sammy), Alex Harland (Policeman), Chloe Pole (Donna Marie/Miss Jones), Graeme Kinniburgh (Postman/Bus Conductor), Cameron Patmore (Perkins), Dominic Gore (Neighbour), and Jess Smith (Brenda) all deliver standout performances that complete this exceptional cast.

Visually, the production opts for simplicity, and it works brilliantly. Andy Walmsley’s set design, combined with Nick Richings’ lighting and Dan Samson’s sound design, creates smooth transitions that evoke time and place, highlighting the stark contrast between the brothers’ lives. The staging ensures the focus remains on the powerful performances, while the live orchestra, under Matt Malone’s musical supervision, amplifies the emotional core of the story. Iconic songs like “Easy Terms”, “Marilyn Monroe”, and the heart-wrenching finale “Tell Me It’s Not True” are delivered with intensity and passion.

Bob Tomson’s direction is fast-paced and emotionally charged, keeping the audience fully engaged from start to finish.

This touring production of Blood Brothers is a testament to why the musical has become such a cornerstone of British theatre. With its timeless story, emotional depth, and exceptional performances, it leaves audiences deeply moved. Unsurprisingly, it earned a full theatre standing ovation, and it’s a response the production richly deserves.

Whether you’re experiencing this classic for the first time or revisiting it, Blood Brothers is a theatrical experience that stays with you long after it ends. It’s a masterclass in storytelling and theatre —raw, powerful, and unforgettable.