If you’re a regular reader of STARBURST, then it’s probable that you have some very niche cultural interests. A new piece of theatre in London speaks to those of us who geek out over public transport, maps, and our understanding of the topology of a space.
It’s some fifty years since Henry Charles Beck, better known as Harry, died. His legacy is an item used every day by millions of Londoners and international tourists – the London Tube Map. The map is an icon of design history, and its various revisions provide a fascinating study of London’s evolution in the last hundred years. Many people’s understanding of the geography of the city is shaped by this diagram, which has always been clear that it’s not geographically accurate. But such was Beck’s skill and vision that the spatial relationships have become familiar to residents and visitors, and the influence of the map is felt throughout the world. The design itself has been pastiched, parodied, and paid homage to in numerous artistic forms.
The story of the diagram, as Beck termed his invention due to that lack of geographical accuracy, is a fascinating one, and there have been numerous documentaries and books related to it. The story of the man who drew the diagram is perhaps less well-known. This is a situation that the Natural Theatre Company, in partnership with the London Transport Museum, attempt to address in the new play, The Truth About Harry Beck, currently being performed at The Cubic Theatre, a new performance space located in the basement of the London Transport Museum, in the corner of Covent Garden Piazza.
Even less discussed than Beck (Simon Snashall, Humans; The IT Crowd), is his wife, Nora (Ashley Christmas, Alice Through the Looking Glass at The Tobacco Factory, Bristol), who also worked for the London Underground. In this two-hander, we get to find out more about her, and the relationship between the couple.
Writer Andy Burden, who also directs, makes a full declaration of honesty within his script – some of the history of the Becks is unknown or unclear, so certain liberties have been taken for the sake of creative licence. This is almost certainly mostly the case in the conversations between the two that concern their courtship and marriage. But certain things are definitely true, including the contents of the correspondence between Beck and his superiors at the Underground Electric Railways of London, as the London Underground used to be known.
Structured around the three rejections in Harry’s life, the play takes us through the ‘invention’ and later re-working of the now iconic design. Beck, a draughtsman by trade, sketched out his original design in 1931, although this initial concept was rejected by the managers at London Underground as being ‘too radical’. Following that first rejection, Beck continued to work on his design in his own time. A second attempt at submission in 1933 was successful, with a limited trial taking place that was so successful that an immediate reprint was ordered.
Having traced the meeting of Harry and Nora, and their subsequent courtship, the personal story turns to focus on their marriage and life together. It’s a life not without challenges, and these are beautifully played by both Snashall and Christmas, with an understated intimacy that reflects the time in which the play is set.
It’s fair to say that the story of how a man designed a map might well not be the most fascinating narrative to watch on stage. There are some moments in the first third of this roughly 70-minute-long performance that do feel as if they are lacking a little pace. This is most true in the section before Beck receives his first rejection, but the pace and humour pick up again as Harry works out how to depict the ideas he’s trying to convey.
There’s some light audience interaction, and those in the audience who are familiar with the tube map will enjoy joining in as Beck focuses on how to show the interchange stations at key points on the tube network.
This is cleverly written, with the script absolutely stuffed full of the language Beck used to describe his design, and an abundance of more general wordplay to satisfy those who may be less familiar with the various Easter eggs hidden here.
There’s also a fair degree of social history, with the advances in science and technology of the 1930s to 1960s, alongside other significant cultural moments, woven through the narrative. It’s an interesting reminder of how some things have changed so as to be unrecognisable, whilst others, like Becks’ map, have remained a constant presence.
When he retired, Beck was all but forgotten by his former employers and feared that his work, being usurped by Hutchinson’s early 1960s design, would also fall into obscurity. In the end, Beck’s work was restored, as was his name, which still adorns Tube Maps and Posters to this day. The Truth About Harry Beck isn’t afraid to shy away from depicting his rejections, as well as his triumphs, both personal and professional. This is a delightful depiction of the man behind the map.
The Truth About Harry Beck continues at The Cubic Theatre at The London Transport Museum in Covent Garden, until 19th November 2024. The purchase of a ticket will allow the holder to buy a 12-month ticket for entry to the museum for half-price. See the London Transport Museum website for further details.
