Shapeshifter and Berwick House in association with Concordance present
Lark Rise to Candleford
Two plays by Keith Dewhurst
Adapted form the books Lark Rise to Candleford by Flora Thompson

Finborough Theatre
September/October 2005

Directed by John Terry and Mike Bartlett, Designed by Alex Marker, Costumes by Penn O'Gara, New Musical Arrangements by Tim van Eyken, Movement by Kitty Winter

Press
David Brett, Peter Caulfield, Hugo Cox, Rosalind Cressy, Hannah Emanuel, Susie Emmett, Nicky Goldie, Michael Lovatt, Gary McKay, Tom Murphy, Owyn Stephens, Anna Tolputt, Sophie Trott

Press
'Alex Marker's set…almost looks like a sepia tinted photograph…the staging is full of inspired moments… the production… creates an entire beguiling world that enfolds its audience in a warm embrace - a big achievement in a small-scale theatre.'
Sam Marlow, The Times

'With barely room to swing a cat, Alex Marker's wooden platforms and steps work wonders, representing a whole variety of situations from fields to homes to streets to pubs.' Carole Woddis, What's On Stage

Click here for press cuttings

Set Model scale 1:25. Point of view taken from the landing above the audience entrance
Set Model Scale 1:25. Looking toward the South end of the theatre
A panorama across the Finborough space looking North West
Lark Rise: The harvest gang on their lunch break
Candleford: Laura (Sophie Trott), Dorcus Lane (Rosalind Cressy) and Zillah (Susie Emmett) watch the hunt.
Emma Timms (Anna Tolput) and Mrs Peverill (Susie Emmett)
Laura Timms (Sophie Trott)
Lark Rise: 'John Dory', a fruit and fish salesman, comes to the Rise.
Candleford: Laura has a wash
Lark Rise: The harvest
Candleford: Laura (Sophie Trott) is sent out on her first post round and is teased by the two young footmen from the Hall (Michael Lovatt and Owyn Stephens).
Lark Rise: "All together for the grand circle dance". The whole cast and, on most nights, half of the audience too.
A typical Lark Rise audience

Lark Rise arose from the embers of Shapeshifter's production of Soldiers at the Finborough in 2004, which had been very successful in attracting audiences and a lot of critical attention. On the strength of this I was invited to join Shapeshifeter as Associate Designer and we found ourselves wondering what to do next. It had to be bigger and better than the last show. We settled on Lark Rise to Candleford.

The show had originally been staged at the Cottesloe Theatre at the National as a two-play promenade production, with a cast of nineteen actors playing seventy-five characters and the Albion Band providing a folk rock score. We were proposing to mount it in one of the smallest fringe venues in London.

We were entered for the Mark Marvin Rent Subsidy Award (Peter Brook Empty Space Awards 2004) and won, much to our own surprise and that of a few others: Lyn Gardener's bemused comment, 'A promenade show at the Finborough! Won't that be more of a shuffle?' sticks in the mind.

The work began in earnest to accrue the remaining funding and mount the show. My biggest challenge was how to produce a set that could contain varied locations and would be visible to the majority of the audience at all times. I experimented with textures colours, levels, entrances and exits: no corner was left unfilled; the directors even had an actor entering from the tech box window. I eventually produced an environment that included a two-storey hayloft, ladders, a hill, folding tables, a counter on castors, flaps, doors and a tin bath. The experience started right from the moment the audience left the bar as they passed two actors playing the fiddle and accordion on the staircase landing, dressed as part of the set.

One of the biggest challenges I faced was where to hide ten seating blocks (measuring two and half metres long) and eight pieces of steel deck rostra, in a venue measuring ten metres by seven and a half metres when the backstage area comprised of one dressing room, an office, a tiny tech box and a smallish mezzanine storage area.

The nagging feeling that we had bitten off more than we could chew was allayed the day the cast first saw the space. Our talented group of actor/musicians had been rehearsing hard at the Jerwood Space with only tape marks to indicate ladders and a myriad of levels. As soon as the cast walked in to see the transformed space, one of them exclaimed 'Wow, I haven't felt like this since my Dad built me a tree house!' It was then I knew we had a show.

Last updated: 8 October, 2006