Lark Rise to Candleford

The main problem with Flora Thompson’s Lark Rise to Candleford books is that they have little in the way of storyline; it is after all a documentary-style autobiography. However, any such narratives are completely absent from this stage production – it is no more than a series of seemingly unrelated scenes reflecting a lost pre-Industrial Revolution way of life. This is all well and good for a study and appreciation of an era, but too uneventful for a night out at the theatre.

The music, created by Ashley Hutchings, is the absolute highlight of this production. Live acoustics are performed by actors and musicians on stage during the action as a reflection of country life, particularly at harvest time.

The young Blair Dunlop is a real talent with a soulful voice, whilst his older compatriot, Roger Wilson, has a beautifully husky voice which mesmerises the audience. In fact the entire cast sing excellently, with some wonderfully spine-tingling harmonies and ensemble instrumentals.

Jonathan Ansell is a strange choice for such music. He has a great voice with fantastic projection, but unfortunately it does not fit with the unpretentious simplicity of the music and the other performers' voices, meaning that Ansell can often be heard blaring out above the others.

Apart from struggling to maintain the Oxfordshire accent, the acting is on the whole decent if at times a little over-the-top; 12-year-olds simply do not flail their limbs about like toddlers who are only just learning how to control their bodies. But the main problem with the acting comes from Joe Harmston’s directing decisions.

Some actors play multiple roles which is fine in theory, but costume changes are often too subtle to notice, and it can become confusing trying to figure out why important characters played by recognisable actors are poor stone masons one minute, then rich squires the next.

Lark Rise to Candleford is authentic and honest, and its nostalgic recollection of a bygone age of strong, tight-knit communities is warming. There is a lot of potential here but the theatre's seats are only half full; if it is to draw a large audience Keith Dewhurst will have to revise his script to include some sort of storyline.