★★★★
Middle Ground Theatre Company’s production of The Signalman is an updated adaptation of the Charles Dickens ghost story of the same name. As the curtain lifts on a quiet piece of railway track beside a signal box in the dead of night, the audience sees the titular signalman (Chris Walker) cautiously leave his post when he hears the approach of a visitor on a walking holiday (John Burton). What ensues is a tale of bad omens and haunted pasts against the backdrop of Victorian England.
One particularly outstanding aspect of this production is the set, comprised of a railway tunnel, bridge and recreation of a late 19th century signal box. The signal box in particular was researched and designed by director Michael Lunney, and constructed in 2014 for one of the play’s previous incarnations by the late Andy Martin, to whom the 2025/6 tour is dedicated. This set is a showcase in attention to detail and brings a lot of life to the show despite its relatively compact nature. There is no need for a haunted house when the signal box hosts flickering lanterns, bells that hum and ring by themselves and doors that slam and rattle. Books throw themselves from the shelves untouched by any hand. The set hosts plenty of technical trickery, achieved very deftly.
The set is so vast and detailed, however, that it would be nice to see the rest of it utilised as effectively as the signal box. The majority of the play’s scenes play out as conversations between the signalman and traveller, both sat within the signal box. As they elaborate at length about their past experiences, leaving the railway line and tunnel beyond largely unexplored, things begin to feel somewhat static, and the buildup of tension runs the risk of sagging if it goes on for too long. Despite Dickens’ relatively short story being spun out into eighty-five minutes of time onstage, there are some loose threads that feel worthy of tying up, while other areas of the story feel overly dwelled-upon.
The plot is, however, brought to life in increasingly imaginative ways. The supernatural elements are achieved via a combination of projection (credited to David Moulder) and practical effects (with lighting design credited to Bob Hodges.) This blend of effects is achieved very effectively and makes for a particularly immersive production. In addition, Walker delivers a particularly strong performance, bringing a subtle sort of terror to the role. Rarely does he need to shout or cry out—his fear is shown through his clutching of a bible, the hunted way with which he goes about his duties in the signal box.
His character is plagued with visions of imminent disaster upon the railway, and it feels fitting when one finds out that the original short story was written after Dickens was involved in a railway accident a year prior. Adaptor Francis Evelyn has taken pains to parallel the Signalman’s troubles at the railway with those suffered by Dickens. With this in mind, the production is a layered entity about the ways in which trauma may stay with us long after it has occurred.
The Signalman will be performed at Derby Theatre until 31 January.
Words by Casey Langton.
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