Imagining what happens when Charles Dickens gets stranded in Barnet – latest theatre production puts the author of the spot

When Charles Dickens was forced the spend the night at the Red Lion in Barnet he faced some harsh truths – a challenging story line delivered with style and conviction by the cast of Between the Lines, which had its first night at The Bull Theatre in a run of sell-out performances.

Barnet’s rich history and literary connections are brought to life in the latest original production by the Blue Door Theatre Company.

When the town is snowed up halting all coaches to and from London, Dickens takes refuge at the Red Lion along with other stranded passengers whose enforced stay leads to some awkward conversations and unexpected revelations.

Dickens, by now an old man with a walking stick, died six months later.

The thrust of the story line created by Barnet playwright Sarah Munford and her co-writer Claire Fisher is to encourage the audience to form their own view about Dickens and whether he had been misogynistic towards women.

Dickens (Chris Browning) was heading north when his coach was halted by a snowstorm.

He was welcomed to the Red Lion by the landlady Peggy (Naomi Richards) who catches her visitor by surprise – she was one of the many prostitutes taken off the streets of London with the author’s help and who later made a success of her life.

Reminders of Dickens’ earlier visits to Barnet – and the inspiration he found in the town – provide material for a range of script lines.

An opening scene is a meeting of the guardians at Barnet Workhouse who are hearing an application from a blacksmith’s widow from Finchley and her son.

The guardians are divided on what to do – from left to right above, Miss Pooley (Lynne Austin), Lady Huffington (Jan Parker), Constance Dribble (Niki Patel) and Norman Nunhead (Gary Murphy).

Another flashback is in the capable hands of Abel Abel (Ross Wilson) whose conversations with Dickens hark back to the time he was said to have found inspiration at the steps in the High Street of the former Victoria Bakery – the location in Oliver Twist where Oliver was thought to have met the Artful Dodger.  

Most of the action features Barnet’s lowlife, including the Barnet Belles – as named by Dickens – who were a group of prostitutes based across the road from the Red Lion at The Bull public house.

Revelations come thick and fast as women share memories and anecdotes of past liaisons and encounters.

Such is the rich tapestry of recollections that newspaper reporter Percy Perchance (Francesco Giacon) – who is also marooned in “desolate, deepest North London” – is spoilt for choice and is soon writing the headline for his own story: Dickens Unmasked. 

Rivalry between the Red Lion and The Bull in offering a welcome to the loose women of Barnet provides some graphic commentary – and a chance for a pertinent and amusing piece of casting.

Susie Earnshaw, founder of the Susie Earnshaw Theatre School, which is based at The Bull Theatre takes on the role of The Bull’s landlady. A well-known regular is the notorious Barney Betteroff (Tony Nagle).

A key moment is when Peggy finally confronts Dickens with letters which she wrote to him but never posted and which delve into the author’s past relationships with women – a confrontation full of contradictions which Dickens does not enjoy being reminded of!

A constant backdrop to the production are the blow-ups of photographs from the Barnet Museum collection showing how the town centre looked in the Victorian era – images which are all the more powerful because some capture period buildings like the Red Lion and the parish church during heavy snowfall.  

Interspersing the scenes are songs written by the musical director Nick Godwin of The Silencerz.

Paying tribute to the cast and all those who had contributed behind the scenes, director Siobhan Dunne said Blue Door Theatre Company was proud of its work in providing community theatre for the town – above, front row, from left to the right, Claire Fisher, Sarah Munford, Siobhan Dunne and Susie Earnshaw.

Their aim was to continue producing one original and locally written play a year as well as a published text.

She made a heartfelt plea to the audience to support an appeal to raise £10,000 to help with the cost of new theatrical equipment for The Bull.