The Naughty Carriage on the Orphan Train – Birmingham Hippodrome

Book: Carl Miller

Music: Luke Saydon

Lyrics: Luke Saydon and Carl Miller

Director: Emily Gray

The programme notes for The Naughty Carriage on the Orphan Train tell us that orphan trains were a real thing in the US between the 1850s and 1920s when orphans were transported away from ‘bad’ environments and into ‘good’. And the concept wasn’t restricted to the US, similar schemes were in place in other countries too. But well-meaning as the organisers might have been, it’s obvious now that such schemes were ultimately patronising at best and damaging at worst, as orphans found themselves cast from the frying pan into the fire.

At each station, the orphans would be paraded before the locals who would pick out children to take in. Sometimes they’d be motivated by charity: at least as often, they were seeking cheap labour and gratitude. And what of the children not chosen? Well, in this show, despite being as worthy as anyone else, they end up at the end of the line in the naughty carriage of the orphan train.

The show is presented under the auspices of the British Youth Musical Theatre (BYMT). For over 20 years, BYMT has promoted musical theatre among youngsters nationwide and provided opportunities for them to take part with an impressive roll call of alumni.

BYMT initially presented The Naughty Carriage… in Dundee a couple of years ago. The production has since been expanded to further develop the characters and includes additional songs, and when the whole company sing together the sound fills the room with fine multi-part harmonies. Among the orphans on the train is Appoline, known as Apples, who serves as the train matriarch and has extensive experience riding the train. She understands precisely what prospective adopters are looking for and coaches the orphans on how to present themselves, including performing The Orphan Hymn. This strategy proves successful, as Evangeline and Norm are quickly adopted.

However, a new character, Champ, introduces a disruptive element. Making a memorable entrance by running after the departing train and jumping aboard, Champ, despite her tough and streetwise exterior, convinces the orphans that they will all find ‘the best family in the world’ by the end of the journey. Nevertheless, at the end of the line, the children in the naughty carriage who were not selected remain without families and make their way back along the railway.

The tension between Apples (Eiry Shi) and Champ (Blaize Middleton) is well drawn; Apples’ world-weary cynicism contrasts with Champ’s naïve enthusiasm. Both have fine singing voices too. The song The Bear Who Drinks Tears is quietly moving when Champ comforts Bruce (Nicholas Ladd), as he struggles with society’s expectations of him as a boy. Ladd brings a restrained acceptance of his lot, even as his story arc reinforces the moral of being true to yourself. Bringing comic relief are sisters Bridget and Fidget (Darcey Oswin and Phoebe McFadden). They are stage children, used to touring (think of the family in Gypsy) and are gloriously over the top. Lottie Keevil and Ashton Davies-Beedles as Evangeline and Norm show us the emotional journey of those picked only to be exploited.

BYMT isn’t just about acting and singing, however, with the on-stage musicians including two young instrumentalists: Taran McNeil (sax, clarinet and flute) and Leo Main (drums). It’s high praise that this reviewer did not realise they were anything other than professional members of the band until reading it in the programme.

There are, however, structural flaws in the production. The narrative is sometimes disjointed and episodic with the effect that most characters remain somewhat two-dimensional and the whole feels a touch over-extended. It’s clear that further reflection and development could improve the balance further and manage these issues. On this particular occasion, there were some technical issues with microphones dropping out, that meant that some dialogue wasn’t clear so that some parts were harder to follow.

Nevertheless, the young cast is to be congratulated on creating a memorable and ambitious piece that has real potential – as do many of the performers.

Runs until 27 April 2025