On the Train & Arriving in London

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Christopher on the Train

The scene on the train to London may be the most intensely comedic part of the whole play, with the action becoming almost farcical (over-the-top) at times.

Station Policeman's relief

The scene begins with the Station Policeman relieved to have caught up with Christopher on the train, having spoken to Ed (who is now waiting at the police station).

Christopher tries to escape

The Station Policeman’s relief is short-lived.
In a moment of high farce and almost slapstick comedy, Christopher tries to run away, is grabbed and then begins to scream.
Just as Christopher appears to be cornered, the stage direction tells us that “the train begins to move”.
The Station Policeman’s panic is revealed in his exclamation, “Shitting fuck”, the swear-words providing a moment of release for the audience.

Brief lull

There is a brief lull in the farce as Christopher and the Voices recite what Christopher sees out of the train window.

Train comedy

The slapstick comedy renews when the Station Policeman discovers that Christopher has wet himself.
After going to the toilet to clean himself, Christopher then hides in the “luggage rack” above the seats, only to scare “the living daylights” out of 'Woman on Train' who reaches onto the shelf to get her bag.
The arrival of two Drunks adds to the comedy (“They’ve got like, a train elf… He could be our elf mascot”) until the train empties and Christopher is left alone on stage.

Station Policeman returns

The Station Policeman returns briefly at the end of the scene, a comic figure who is searching under train seats while Christopher calmly leaves the train.

Christopher's Arrival in London

Stephens again uses a range of dramatic devices to bring Christopher’s feelings of panic and disorientation to life on stage.

Repeating Siobhan's instructions

Siobhan guides Christopher as he takes his first steps in London, with Christopher repeating Siobhan’s instructions (“Left, right, left, right…”).
These steps can be seen as symbolic, each step representing Christopher moving forward and making progress, overcoming the obstacles which stand in his way.

Pre-recorded voices

Stephens uses a long succession of 53 pre-recorded voices to represent the signs which bombard Christopher as he looks for visual clues to help him leave the train station.
Depending on the production, these voices can be enhanced with video displays which project these words on to the ‘walls’ on stage.

Significance of the voices

The voices and projections help to immerse the audience in Christopher’s mind and create a sensation of sensory overload.
The stage directions describe the “chorus” of voices as “cacophonous”, emphasising Stephen’s intentions of creating a sense of chaos for the audience.

Coping strategies

Overwhelmed, Christopher is unable to keep moving forward and has to fall back on his coping strategies, resting his head against a box and placing his hands over his ears to block the cacophony (harsh noises) around him.
He pulls his Swiss Army knife on a Station Guard to protect himself from a ‘stranger’ and then “makes his hand into a telescope” which limits his field of vision, blocking out much of the sights and sounds which so upset him.

Information counter attendant

An attendant at an information counter tells him to take the Tube (London Underground) to Willesden Junction.

Significance of Ed

Stephens uses the character of Ed to dramatize the conflict within Christopher’s mind.
His sudden ‘appearance’ is used to voice the doubts that Christopher must be feeling, knowing he has to do something he has never done before: “Christopher, you won’t be able to”.
Christopher resists the temptation to abandon his quest and return home, telling his ‘father’, “You told a lie. You killed Wellington”.