Lark Rise to Candleford at the Watermill Theatre – review

If ever a story has found its ideal onstage home, it is this adaptation of Flora Thompson’s semi-autobiographical novels. She set her narrative in the Oxfordshire countryside of her upbringing during the year of her birth in 1876, although the trilogy was written and published during and after World War II.

The multi-talented cast of just six tell the tale – and as I write these words, I can scarce believe they are only six – the stage seems so populated, so full of life and movement, on scenic and costume designer Anna Kelsey’s red-golden, autumnal set, richly lit by Jane Lalljee. Kelsey’s costumes pick up on these shades, too. They evoke both setting and period so perfectly, whether it is during a rumbustious scene down The Barley Mow pub, or up at the equally cleverly inspired post office, where Flora’s heroine and alter ego, Laura (not by accident does it rhyme with “Flora”), eventually works – and finds a degree of job satisfaction.

Laura loves to roam the countryside and indeed Thompson’s title is as good a name for a walker’s map of the cryptically-named route she takes through meadow and wood, alive with the flora and fauna she adores. Her work involves taking a turn as a postie too, so it is not all counter-bound.

Jessica Temple’s Laura is vivid and passionate. You warm to her immediately, empathise with her, and I, for one, instantly salute her love of books and reading. However, this is not shared by her mother – a proud, loving mum, but very much of her time so anxious for her daughter to find a husband. Played to perfection by Rosalind Steele, she too is feisty, but unsurprisingly more traditionally minded. Steele doubles as a scary, steely (no pun intended), well-to-do lady who clearly revels in looking down on those she does not consider her equals, a nice coupling of roles.

So it’s down to Rosalind Ford as fiery postmistress Dorcas Lane to be the bestie Laura needs so much and the vital onstage musical director who leads the live music, ably backed up by many of the cast members on strings, according to the wonderfully effective and much-loved tradition of the Watermill Theatre, where actor-musicians brilliantly prove their worth.

The company is equally split between male and female players. Similar to Steele, there is room for doubling here, with Christopher Glover revelling in playing two very different men from another generation – Laura’s stern, unyielding father and a rather more matey and happily avuncular Uncle John.

Alex Wilson also gets to play two contrasting roles – Laura’s brother Edmund, who cannot keep up with her in mind or body, and an Irish labourer, who haunts the post office waiting for a longed-for letter from home.

Zrey Sholapurkar completes the trio of male performers as Godfrey Parish, nascent love interest for Laura, as they go cycling on two bicycles, wittily represented by two sets of handlebars and some neat, energetic mime/dance. Credit goes to movement director Patsy Browne-Hope.

Once again, the Watermill proves itself home to unmissable, life-enhancing theatre. How wonderful that this production will enjoy a further life in Keswick’s Theatre by the Lake.